Gymnastic  Teaching 


Department  of  Physical  Education  for  Men 
University  of  California  at  I^os  Angeles 


UNIVERSITY  OF  CALIFORNIA 
LOS  ANGELES 


''" ~  ' 


7-Day 


Book 


Dapt.  of  P.  JS.  Hen  U.  0.  L.  A. 

l?g.  f* 


Date    Data    Data    Date 


GYMNASTIC  TEACHING 


By 
WILLIAM    SKARSTROM,    M.   D. 

Professor  of  Physical  Education 
Wellesh'-y  College 


Second  Revised  and  Enlarged  Edition 


AM  Kit  KAN     PHYSICAL    EDUCATION    ASSOCIATION 

ni.STKIHL'TING    AC  KM' 

SPUING  KI  K  LI)  ,      MASS  . 

1921 


COPYRIGHT,  1921 

BY 

WILLIAM  SKAKSTKOM 


PREFACE. 

For  a  number  of  years  some  of  my  friends  had  been  asking  me 
to  write  on  the  subject  of  Gymnastic  Teaching,  and  finally  Dr. 
J.  H.  McCurdy  persuaded  me  to  undertake  the  task.  Like  "Gym- 
nastic Kinesiology"  it  was  done,  with  the  exception  of  the  Appen- 
dix, in  the  form  of  monthly  contributions  to  the  PHYSICAL  EDUCA- 
TION REVIEW  during  the  past  three  years. 

In  this  presentation  I  cannot  claim  to  have  added  anything  new 
to  the  subject.  Nor  have  I  tried  to  make  an  exposition  of  any 
particular  system.  It  is  merely  an  attempt  to  pick  out  and  eluci- 
date some  of  the  principles  underlying  all  gymnastic  work  and  to 
show  some  of  the  possibilities  of  their  varied  application  under 
different  conditions.  While  some  phases  of  the  subject,  such  as 
the  values  and  effects  of  the  work,  are  still  largely  in  the  theory 
stage,  the  practical  aspects  of  the  work — methods  and  technique 
of  teaching  it,  and  the  management  of  gymnastic  material — have 
been  abundantly  tried  and  their  effectiveness  reasonably  well 
proven.  Indeed,  the  part  of  the  discussion  which  deals  with  this 
side  of  the  subject  is  but  the  summary  of  results  of  more  than 
twenty  years  of  study,  observation  and  experience  in  teaching  the 
work  under  fairly  varied  conditions — in  the  Y.  M.  C.  A.,  in  second- 
ary schools,  colleges  and  normal  schools. 

The  book  is  offered  to  teachers  and  students  of  physical  educa- 
tion with  the  hope  that  it  may  prove  helpful  in  the  adaptation  of 
gymnastic  work  to  all  kinds  of  conditions,  but  especially  with  a 
view  to  meeting  conditions  in  educational  institutions.  If  it  will 
contribute  to  a  broader,  more  liberal  point  of  view,  to  a  greater 
interest  in  and  more  effective  teaching  of  gymnastic  work,  and 
thus  to  a  fuller  realization  of  its  potential  values,  the  effort  will 
not  have  been  made  in  vain. 

My  grateful  acknowledgment  of  helpful  suggestions  would 
include  all  the  friends  with  whom  I  have  been  associated  during 
the  past  twenty-two  years.  Among  those  who  aroused  my  interest 
and  guided  me  during  my  first  years  of  teaching  are  Drs.  J.  H. 
McCurdy,  C.  J.  Enebuske  and  L.  Collin.  In  forming  my  point 
of  view  and  general  ideas  on  the  subject  I  owe  much  to  profitable 
discussion  with  these  friends  as  well  as  Drs.  L.  II.  Gulick,  G.  L. 
Meylan,  C.  W.  Crampton,  T.  D.  Wood,  F.  Leonard  and  others. 
In  the  systematizing  and  grading  of  apparatus  work  for  men  I 
received  much  help  from  Dr.  G.  L.  Meylan,  Mr.  J.  A.  Davis  and 
Mr.  A.  I.  Prettyman  while  engaged  in  teaching  the  work  at 
Columbia  University.  And  to  the  stimulating,  encouraging  and 
steadying  influence  of  Miss  Amy  Morris  Homans  I  shall  always 
attribute  a  large  part  of  whatever  success  I  may  have  attained  in 
teaching  the  practical  as  well  as  theoretical  side  of  the  subject. 

Welleslev,  June,  1011. 


PREFACE  TO  SECOND  EDITION. 

Since  the  first  edition  was  written  (1912-1914),  further  study 
and  additional  teaching  experience,  theoretical  and  practical,  have 
helped  to  broaden  and  clarify  my  point  of  view  on  physical  educa- 
tion in  general  and  on  various  phases  of  gymnastic  work  in  par- 
ticular. As  a  result  the  second  edition  has  been  considerably 
revised  and  enlarged  by  changes  in  phrasing,  by  addition  of 
numerous  sentences  and  paragraphs  and  by  recasting  many  parts 
of  the  old  text  in  an  endeavor  to  state  my  present  point  of  view 
more  clearly  and  adequately  and  at  the  same  time  make  the  book 
more  helpful.  To  this  end,  also,  the  former  ''skeleton"  series  of 
gymnastic  lessons — intended  to  illustrate  selection,  arrangement 
and  progression  of  gymnastic  material — have  been  replaced  by 
ten  new,  complete  series  of  lessons,  including  two  series  for  Junior 
High  School  children.  To  facilitate  interpretation  of  the  nomen- 
clature (which  has  also  been  somewhat  modified),  forty-two  cuts 
have  been  introduced.  In  the  chapter  on  progression,  as  well  as 
in  the  progressive  lists  of  exercises  in  the  Appendix,  some  types 
and  combinations  which  appeared  in  the  old  text  have  been 
omitted,  many  new  ones  have  been  added  and  the  order  of  enu- 
meration changed  here  and  there,  as  suggested  by  more  recent 
experience. 

The  cuts  have  been  selected  from  a  number  intended  for  illus- 
tration of  a  forthcoming  Manual  on  Physical  Education  for  Ele- 
mentary Schools,  which  has  been  in  preparation  for  some  time  in 
collaboration  with  Miss  Elizabeth  Halsey.  They  are  reproduced 
here  with  her  consent.  I  am  greatly  indebted  to  her  and  to  Dr. 
E.  C.  Howe,  both  colleagues  in  the  Department  of  Hygiene, 
Wellesley  College,  for  help  in  taking  the  photographs,  as  well  as 
to  the  young  people  who  kindly  posed  for  them. 

Wellesley,  January,  1921. 


TABLE    OF   CONTENTS. 


PREFACE. 

I.  INTRODUCTION. 

Principles  of  selection  and  systematizing,  grading  and  progression  of 

activities  are  fundamental  in  education. 
Place   of  gymnastics  in   physical   education.     Diversity   of   theory   and 

method. 

The  principle  of  definiteness  in  gymnastics. 
The  spirit  of  the  work  and  the  spirit  of  teaching. 

II.  GENERAL  PRINCIPLES. 

1.  SOME  ESSENTIALS  FOR  SUCCESSFUL  TEACHING. 

Personality  of  the  teacher. 
Knoivledge  of  principles  and  methods. 

2.  CO'NTROL    AND    CLASS    MANAGEMENT. 

Incentives. 

Will  power. 

Interest:  Getting  and  keeping  in  touch  with  class. 

3.  DISCIPLINE  AND  ATTENTION. 

4.  LEADERSHIP  AND  FRIENDLY  RELATIONS. 

Suggestion  and  example. 

Personal  relations  between  teacher  and  class. 

III.  METHODS  AND  TECHNIQUE. 

1.  FORMATION,  DISTRIBUTION  AND  POSITION  OF  CLASS  ON  THE  FLOOR. 

Variation  in  the  formation,  by  facings,  during  class  exercises. 

2.  GYMNASTIC  SIGNALS. 

Essential  features  of  gymnastic  signals. 

Different  kinds  of  signals. 

General  factors  in  the  use  of  signals. 

3.  TECHNIQUE  IN  THE  USE  OF  SIGNALS. 

The  preparatory  part. 

The  pause. 

The  final  part. 

The  use  of  numerals. 

Signals  for  stopping  rhythmic  exercises. 

Summary. 

4.  THE  ACTIVE  AND  RELAXED  GYMNASTIC  POSITIONS. 

5.  INSTRUCTION. 

Preparation  of  teacher. 

Presentation  of  exercises.     Principles  and  methods. 

Supplementary  instruction:  Cues,  admonitions  and  stimulation. 


viii  CONTENTS 

6.  INDIVIDUAL  INSTRUCTION  AND  ASSISTANCE. 

Systematic  observation  of  class  work. 

Causes  of  faults. 

Summary  of  methods  of  supplementary  instruction. 

The  technique  of  manual  assistance. 

7.  REVIEW  AND  SUMMARY  OK  METHODS  OF  TEACHING  DIFFERENT  TYPES 

OF  WORK. 

Exercises  of  the  non-definite  type. 
Methods  and  technique  of  teaching. 
The  definite  type  of  exercises. 
Methods  of  teaching. 
Rhythm  and  definitencss. 

IV.     SUBJECT  MATTER. 

1.  AIMS  AND  VALUES  OF  GYMNASTICS. 

(1)  The  hygienic  aim. 

(2)  The  educational  aim. 

Objective  and  subjective  motor  training: 
Good  posture  and  erect  carriage. 
Equalization  of  grow'th  and  development. 
Acquisition  of  useful  forms  of  agility. 
Mental,  moral  and  social  training. 

(3)  The  recreational  aspect  of  gymnastics. 
.  (4)     Adaptation  of  aims  to  conditions. 

2.  SELECTION. 

3.  CLASSIFICATION. 

I.     MARCHING. 
II.     F.REE-STANDING  EXERCISES. 

(1)  Lett  and  arm  exercises. 

(2)  Upper  back  stretching  exercises. 

The  factors  which  determine  posture, 
b'aulty  posture. 
Posture  training. 

(3)  Lower  back  stretching  c.rcrciscs. 

(4)  Lateral  trunk  exercises. 

(5)  Balance  exercises. 

(6)  Abdominal  exercises. 

(7)  Back  and  shoulder  blade  exercises. 

A.  Shoulder  blade  movements. 

Fixation  of  shoulder  girdle. 

B.  (icncral  back  movements. 

(8)  Toe  jumps. 

III.  APPARATUS    WORK. 

A.     Suspension  exercises. 

I!.     Arm  support  exercises. 

C.     Jumping  and  vaulting. 

I).     Stall  bar  and  pulley  weight  exercises. 

IV.  RUNNING  AND  RUNNING  GAMES;  BREATHING  EXERCISES. 

4.  THE  CONTEXT  AND  CHARACTER  OF  THE  GYMNASTIC  LESSON. 

Proper  distribution  of  work. 

W arming  up. 

Progressive  organic  activity   as  guide. 

A 1 1 -rou  mi  ch  a  racte  r. 


CONTENTS  ix 

General  lesson  plan. 

Arrangement. 

Outline  of  series  of  free-standing  exercises. 

Modifications. 

Variety  in  selection,  combination  and  sequence. 

The  apparatus  ivork. 

Running,  marching  and  breathing  exercises. 

Summary. 

5.  PROGRESSION. 

Progression  as  applied  to  gymnastic  lessons. 
Within  the  lesson.    From  lesson  to  lesson. 
Repetition. 

Principles  of  progression  of  free-standing  exercises. 
General  considerations. 
Types  and  their  relative  difficulty. 
Complexity. 

Combination  and  alternation. 
Speed. 
Rhythm. 

Derived  starting  positions. 

Terminology    of  starting   positions   and    the    movements    through 
which  they  are  reached. 

6.  APPLICATION  OF  PRINCIPLES  OF  PROGRESSION  IN  THE  VARIOUS  CLASSES 

AND  TYPES  OF  FREE- STANDING  EXERCISES. 
Leg  and  arm  exercises. 
Upper  back  stretching  exercises. 
Lower  back  stretching  exercises. 
Lateral  trunk  exercises. 
Back  exercises. 

A.  Shoulder  blade  movements. 

B.  General  back  movements. 
Abdominal  exercises. 
Balance  exercises. 

Charges. 

Toe  jumps,  etc. 

7.  PROGRESSION  OF  APPARATUS  EXERCISES. 

General  considerations. 
Suspension  exercises. 
Arm  support  exercises. 
Jumping  and  vaulting. 

A.  Jumping. 

B.  Vaulting. 

c.     Siting  jumps. 

8.  PROGRESSION  OF  GYMNASTIC  LESSONS. 

Scries  I.  Junior  High  School.     First  year. 

Scries  II.  Junior  High  School.    Second  year. 

Series  III.  High  School  Girls.    First  year. 

Series  IV.  High  School  Girls.    Second  year. 

Series  V.  High  School  Boys.    First  year. 

Series  VI.  High  School  Boys.    Second  year. 

Series  VII.  College  Women.     First  year. 

Scries  VIII.  College  Women.     Second  year. 

Series  IX.  College  Men.    First  year. 

Series  X.  College  Men.    Second  year. 


x  CONTENTS 

V.    APPENDIX. 

1.  PROGRESSIVE  LISTS  OF  FREE-STANDING  EXERCISES. 

Leg  and  ami  exercises. 

(1)  Foot  placings,  heel  raising,  etc. 

(2)  Knee  bending,  alternate  knee  bending,  side  lunge,  etc. 
Upper  back  stretching  exercises. 

Lower  back  stretching  exercises. 
Lateral  trunk  exercises. 

(1)  Trunk  twistings. 

(2)  Side  bendings,  leg  Hinging  sideways,  etc. 
Back  and  shoulder  blade  exercises. 
Abdominal  exercises. 

Balance  exercises. 
Arm  movements. 
Charges. 

2.  PROGRESSIVE  LISTS  OF  APPARATUS  EXERCISES. 

TERMINOLOGY. 

(1)  APPARATUS  EXERCISES  FOR  WOMEN. 

Horizontal  Ladder. 
High  Boom. 
Low  Boom. 
Double  Boom. 
Saddle  Boom. 
Vertical  Ropes. 
Window  Ladders. 
Rope  Ladders. 
Vaulting  Box. 
Side  Horse. 
Long  Horse. 
Buck. 

Parallel  Bars. 
High  Jumps. 
Broad  Jumps. 
Tumbling. 

(2)  APPARATUS  EXERCISES  FOR  MEN. 

Horizontal  Ladder. 
Suspended  Parallels. 
Vertical  Ropes. 
High  Horizontal  Bar. 
Low  Horizontal  Bar. 
Side  Horse. 
Buck. 

Parallel  Bars. 
High  Jumps. 
Broad  Jumps. 
Tumbling, 

BIBLIOGRAPHY. 
INDEX. 


GYMNASTIC    TEACHING. 


I.     INTRODUCTION. 

The  principles  of  selection  and  systematizing,  grading  and  pro- 
gression of  activities  are  fundamental  in  all  education. 

The  complex  conditions  of  modern  civilized  life  necessitate  the 
employment  of  a  variety  of  means  and  an  increasing  amount  of 
time  in  preparing  the  youth  of  the  race  to  take  their  places  in  the 
community.  The  means  used  aim  to  produce  in  the  average  indi- 
vidual the  greatest  possible  amount  of  adaptability  to  his  environ- 
ment, the  greatest  possible  efficiency  as  a  unit  in  the  social  struc- 
ture. To  attain  this  end  it  is  not  enough  that  he  be  sheltered  and 
nurtured  and  have  his  bodily  needs  supplied,  while  growth  and 
development — bodily,  mental  and  moral  (or  social) — are  left  to 
"nature,"  that  is,  to  haphazard  contact  with  the  environment.  In 
most  progressive  countries  such  education  is  considered  so  inade- 
quate that  the  law  of  the  land  compels  the  individual  to  submit 
to  an  artificial  process,  a  kind  of  forcing  process,  intended  to  give 
him  at  least  the  rudiments  of  gene'ral  knowledge  and  such  intellec- 
tual and  moral  discipline  as  will  enable  him  to  become  a  safe  and 
useful  citizen. 

In  this  educational  process  the  agencies  used  are  selected  activi- 
ties, adapted  to  the  powers  of  the  individual  at  any  given  stage 
of  his  development.  These  activities  offer  a  certain  amount  of 
difficulty,  at  no  time  too  great  to  be  overcome,  but  so  gauged  to 
the  individual's  ability  that  success  may  be  attained  only  through 
concentrated  and  persistent  effort.  In  other  words,  the  activities, 
besides  being  carefully  selected  and  systematic,  are  graded  and 
progressive.  The  haphazard,  hit-or-miss  principle  of  learning  by 
blundering,  unguided  experience  is  too  wasteful  of  time  to  be  of 
use  in  this  training  process.  The  selection  aims  to  be  inclusive  and 
varied  enough  to  give  full  scope  to  all  the  growing  powers  of  the 
individual.  The  ordering  and  progression  of  the  subjects  and  the 
methods  of  teaching  are  such  as  to  demand  sustained  and  concen- 
trated attention,  careful  observation,  correct  deduction  and  expres- 
sion. In  this  way  habits  of  logical  thinking  and  rational  action  are 
promoted  and  the  capacity  for  further  growth  insured. 


2  GYMNASTIC  TEACHING 

In  that  part  of  the  educational  program  which  comes  under  the 
head  of  physical  education,  the  ends  sought  are  the  same  as  in 
education  in  general,  viz.,  development  and  coordination  of  the 
latent  powers  of  the  individual  with  a  view  to  secure  greater  social 
efficiency  and  a  fuller,  richer  life.  The  means  through  which  these 
ends  are  to  be  gained  are  directed  bodily  activities  involving  vigor- 
ous and  skillful  use  of  the  fundamental  neuro-muscular  system; 
activities  capable  of  being  organized  and  carried  on  in  a  systematic, 
progressive  manner,  and  largely  by  groups.  Abundant  and  varied 
activity  of  this  kind  is  not  only  the  most  important  factor  in  main- 
taining health,  but  is  essential  for  the  proper  growth  and  develop- 
ment of  the  somatic  organs  and  of  the  bony  and  muscular  systems, 
as  well  as  of  all  the  fundamental  nerve  centers  and,  indeed,  of  the 
whole  central  nervous  system.  Such  neuro-muscular  training  is 
increasingly  recognized  as  basic  to  all  education. 

In  physical  education,  as  in  all  other  departments  of  education, 
the  principle  of  selection  is  applied.  Efforts  are  made  to  select 
those  activities  which  promise  the  greatest  returns  in  health  and 
social  training,  harmonious  bodily  growth  and  development,  in- 
creased neuro-muscular  efficiency.  Here,  as  everywhere,  there  is 
some  diversity  of  opinion  regarding  the  values  which  are  most 
worth  striving  for,  to  the  attainment  of  which  the  limited  time  and 
resources  at  our  disposal  should  be  devoted.  Again,  even  when, 
in  the  main,  there  is  agreement  in  this  respect,  there  are  different 
theories  regarding  the  best  means  of  securing  these  values :  such 
as  selection  of  the  right  activities,  the  details  of  management  and 
methods  which  will  produce  the  surest  and  quickest  results.  This 
diversity  of  theory  and  procedure  is  no  doubt  for  the  best,  as  out 
of  it  will  probably  be  evolved,  eventually  (indeed,  is  already  being 
evolved),  the  underlying  principles  which  should  guide  in  the 
adaptation  of  the  work  to  different  conditions,  groups  and  indi- 
viduals. 

The  place  of  gymnastics  in  physical  education.     Diversity  of 

theory  conducive  to  growth,  even  though  it  lead  to  some  confusion 
and  ineffective  teaching. 

The  activities  generally  employed  in  physical  education  are  play 
activities  (including  games  and  athletics), dancing  and  gymnastics. 
(If  these,  gymnastics  have  offered,  and  still  do  offer,  large  scope 
for  individual  initiative  and  variation  in  the  selection  of  material, 
in  definition,  in  arrangement  and  in  methods  of  teaching.  Here, 
too,  tluTe  is  abundant  need  as  well  as  opportunity  for  the  evolution 
of  fundamental  principles.  Most  "systems"  of  gymnastics  repre- 
sent attempts  to  embody  such  fundamental  principles.  At  any  rate, 
they  mav  be  said  to  be  traditional  applications  of  certain  princi- 


INTRODUCTION  3 

pies,  some  of  which  may  be  fundamental  and  essential,  others  not. 
Because  they  are  traditional,  however, — that  is,  associated  with  and 
the  outgrowth  of  a  certain  set  of  conditions  and  circumstances, — 
they  are  not  necessarily  suited  to  all  other  conditions.  In  each 
there  will  be  found  valuable  features — in  subject  matter,  procedure 
or  method — which  may  be  readily  adapted  to  and  included  in  any 
scheme  of  work  systematized  with  a  view  to  meet  new  or  special 
conditions.  Thus,  for  example,  the  definite,  clean-cut  character 
of  the  exercises  in  Swedish  gymnastics,  the  rhythmic  continuity 
of  German  and  Y.  M.  C.  A.  gymnastics  and  much  of  the  appara- 
tus work  in  each,  are  features  which  will  probably  always  be 
deemed  desirable  and  made  use  of  in  any  effort  to  organize  and 
systematize  gymnastic  work  to  meet  conditions  in  this  country. 
An  all-inclusive  American  system  of  gymnastics  may  some  day  be 
evolved,  but  with  our  present  political  and  educational  organiza- 
tion that  day  seems  as  yet  far  off.  In  the  meanwhile,  each  one 
must  solve  his  or  her  own  local  problem  by  modification  or  adap- 
tation of  the  principal  types  of  gymnastics  as  practiced  and  taught 
by  their  respective  exponents.  The  emphasis  on  one  feature  or 
another  will  vary  with  the  conditions  to  be  met,  and  with  individual 
judgment,  predilection  or  bias. 

In  this  effort  to  adapt  gymnastic  work  to  a  variety  of  conditions 
there  is  bound  to  be  some  confusion  of  ideas,  some  clashing  of 
conceptions  and  theories  regarding  selection  and  management  of 
material,  methods  of  teaching  and  procedure.  Not  infrequently  in 
the  past  more  interest  and  energy  has  been  given  to  discussion  and 
controversy  about  the  theoretical  aspects  of  these  questions  than  to 
their  practical  application  in  daily  teaching  and  guidance  of  the 
pupils.  This  has  tended  to  lower  the  estimate  placed  on  teaching 
ability  and  skill,  to  relegate  the  actual  teaching  to  young  and  inex- 
perienced teachers,  and  even  to  the  neglect,  or  at  least  curtailment, 
of  the  practical  preparation  of  teachers  in  the  science  and  art  of 
teaching.  To  resulting  inefficient  teaching  is  to  be  attributed,  in  a 
large  measure,  the  lack  of  interest  in  gymnastic  work  which  is  too 
often  apparent  among  older  children  and  adolescents,  as  well  as 
the  lack  of  appreciation  and  recognition  for  such  work  on  the  part 
of  school  authorities.  Such  an  attitude  in  turn  reacts  unfavorably 
on  the  teachers,  tends  to  dampen  their  enthusiasm  and  compels 
them  to  resort  to  various  devices  to  make  the  work  attractive  in  a 
superficial  way.  This  often  involves  a  loss  of  time  for  honest,  ef- 
fective work,  or  else  so  thoroughly  disguises  the  latter  that  there  is 
little  chance  of  its  recognition  as  real  work.  All  such  efforts,  when 
carried  too  far,  indicate  a  lack  of  conviction  or  strength  on  the 
part  of  the  teacher,  and  tend  to  place  gymnastics  in  the  position  of 
a  pill,  more  or  less  bitter,  that  has  to  be  taken  as  a  "corrective"  to 
the  unfavorable  influences  of  school  life  on  posture. 


4  GYMNASTIC  TEACHING 

While  the  right  kind  of  gymnastic  work  undoubtedly  lends  itself 
to  intensive  posture  training  better  than  any  other  agency,  to  limit 
its  application  to  this  function  alone,  to  deny  its  claim  to  a  wider 
field  of  usefulness,  is  willfully  to  ignore  the  lessons  of  the  past 
and  the  evidences  of  a  more  general  effectiveness  so  obvious  to  any 
intelligent  observer.  Such  a  reactionary  attitude  toward  the  work 
is  unfortunate  and  unwarranted.  It  tends  to  bring  it  into  disfavor 
and  to  retard  its  development  as  a  positive  educational  factor,  ca- 
pable of  contributing  an  important  part  to  the  all-round  training  of 
the  individual  and  deserving  a  recognized  place  in  the  educational 
curriculum.  That  it  serves  a  broader  and  more  constructive  pur- 
pose than  merely  a  corrective  one  is  admitted  by  an  increasing 
number  of  educators,  and  is  shown  by  the  greater  amount  of  time 
and  credit  allotted  to  it  in  educational  institutions. 

To  justify  the  claims  of  gymnastics  for  recognition  as  an  inte- 
gral part  of  the  school  and  college  curriculum,  it  behooves  the 
gymnastic  teachers  to  make  the  work  appreciated  at  its  true  worth 
by  both  pupils  and  school  authorities.  They  must  infuse  into  it 
an  element  of  life  and  enthusiasm  that  will  make  it  interesting 
and  enjoyable  to  the  pupils  ;  as  enjoyable  as  play,  through  the  sense 
of  exhilaration  and  satisfaction  of  doing  something  worth  while; 
something  which  is  immediately  and  permanently  beneficial ;  which 
is  beautiful,  because  vigorous,  effective  and  well  done;  something 
which  appeals  to  the  group  instinct,  creates  group  consciousness 
and  gives  the  zest  of  individual  responsibility  by  the  working  to- 
gether of  a  number  of  pupils  in  unison,  each  reacting  on  the  other 
and  each  having  a  share  in  the  success  of  the  work  as  a  whole. 
Educators  must  be  convinced,  by  the  results  obtained,  that  gymnas- 
tic work  is  something  more  than  "corrective  exercises";  that  its 
true  function  is  to  serve  as  a  means  of  training  self-discipline, 
alertness  and  subjective  motor  control,  in  which  good  carriage  is 
included  and  emphasized;  that  it  is  capable  of  being  used  inten- 
sively and  systematically,  by  procedure  and  methods  suited  to 
educational  institutions  and  harmonizing  with  other  educational 
material  and  methods  as  regards  grading,  progression,  examina- 
tion, interest,  incentives  and  the  permanent  influence  on  the  indi- 
vidual's development  and  personality. 

The  principle  of  definitcncss  in  gymnastics. 

If  the  object  of  gymnastics  is  to  be  more  than  merely  muscular 
exercise — either  for  the  purpose  of  stimulating  the  physiological 
functions,  or  of  producing  local  muscular  development;  if  it  is 
tf>  be  more  than  a  form  of  amusement  or  a  pretty  show;  if  the 
work  is  to  make  good  its  claim  to  recognition  as  a  positive  edu- 
cational factor,  it  should  be  of  such  a  character  as  to  require  and 


INTRODUCTION  5 

train  power  of  voluntary  attention,  a  sharpened  kinesthetic  sense, 
the  habit  of  quick  and  accurate  response  to  motor  stimuli.  It 
should  offer,  and  demand  correct  solution  of,  definite  motor  prob- 
lems, involving  precision,  speed,  balance,  quick  and  sure  weight 
adjustment,  rhythm.  It  should  conduce  to  erect  bearing  by  re- 
quiring a  good  posture  in  all  exercises,  and  by  including  a  num- 
ber of  exercises  in  which  the  muscles  responsible  for  good  posture 
are  given  vigorous  and  sustained  work  under  varying  difficulties, 
all  with  a  view  to  increase  the  tone,  endurance  and  localized  con- 
trol of  these  muscles,  and  to  cultivate  a  good  posture  sense. 

To  accomplish  these  objects  "gymnastic  work  must  be  selected, 
defined  and  taught  in  a  way  to  focus  attention,  to  exercise  the 
discriminative  and  inhibitory  powers  and  to  elicit  vigorous,  clean- 
cut,  well-adjusted  motor  reactions.  To  be  capable  of  presenta- 
tion to,  and  execution  in  unison  by,  a  number  of  individuals,  and 
in  a  manner  to  bring  out  their  full  effects,  the  exercises  must  be 
relatively  simple,  or  at  least  capable  of  sub-division  into  simple 
elements,  each  of  which  may  be  presented  and  executed  as  a  com- 
plete movement.  These  elements  must  be  sharply  defined  in  every 
detail,  such  as  plane  or  direction,  kind,  extent  and  speed  of  move- 
merit  ;  the  parts  of  the  body  involved ;  the  exact  relation  of  these 
parts  in  the  position  reached  by  the  movement ;  relative  length  of 
time  spent  in  the  movement  and  in  holding  position — rhythm. 

"With  this  exactness  of  definition,  there  must  be  insistence  on 
promptness,  precision  and  unison  in  the  execution.  Whether  the 
exercises  are  repeatedly  done  on  signal  or  rhythmically,  each  move- 
ment or  part  (if  compound  or  alternating)  must  be  completed  and 
the  position  marking  its  completion  held  an  appreciable  length  of 
time,  before  the  return,  or  the  next  part  is  begun.  This  involves 
checking  momentum  and  overcoming  inertia  at  every  point,  intro- 
duces the  element  of  balance  and  redistribution  of  weight  more 
frequently  or  more  prominently,  compels  more  complete,  powerful 
and  varied  muscular  action,  and  gives  the  pupil  an  opportunity 
to  note  and  understand  what  he  is  doing,  as  well  as  the  teacher  a 
chance  to  help  him,  if  necessary."* 

This  definiteness  of  gymnastic  movements  makes  them  in  a  sense 
artificial.  Only  rarely,  in  the  lives  of  most  of  us,  is  there  call  for 
elementary,  isolated  movements  of  this  kind.  But,  surely,  con- 
centration of  attention  and  effort,  exactness,  completeness  and 
speed  of  muscular  contraction,  and  power  of  localizing  movement 
are  elements  which  enter  into  all  skilled  and  efficient  action  and  are 
therefore  applicable  to  the  ordinary  movements  of  daily  life. 

Moreover,  unless  artificially  definite  in  this  way,  gymnastic  ex- 
ercises, like  ordinary  movements,  will  tend  to  be  done  in  lines  of 


"Gymnastic  Kinesiolovry,"  Win.  Skarstroni. 


6  GYMNASTIC  TEACHING 

least  resistance,  in  regions  of  the  body  where  the  movement  is 
easiest,  by  moderate  contraction  of  many  muscle  groups — and 
those  usually  the  strongest,  best  developed.  Exercises  in  which 
this  defmiteness  is  lacking  are  apt  to  consist  chiefly  of  acquired 
reflex  coordinations,  and  do  not  compel  the  discriminating  and 
inhibitory  guidance  of  the  higher  motor  centers  involved  in  learn- 
ing new  combinations  of  muscular  group  actions.  They  there- 
fore give  very  little  opportunity  for  the  refinement  of  motor  con- 
trol, for  the  opening  up  of  new  connections  of  motor  associations, 
for  increasing  the  power  of  muscular  localization.  Instead  of 
improving  they  rather  tend  to  confirm  undesirable  habits  of  move- 
ment and  posture.  Then,  too,  exercises  lacking  this  quality  of 
definiteness  are  difficult  to  standardize  in  a  way  to  enable  the  pupil 
to  judge  the  result  of  his  effort,  or  the  teacher  to  express  his  criti- 
cism and  to  offer  suggestion  or  assistance  in  an  effectual  manner. 
The  tendency  to  distribute  movement  over  wide  areas,  and  so  to 
save  the  complete  and  powerful  contraction  of  circumscribed  mus- 
cular groups,  is  unchecked.  This  tendency  to  save  effort  locally 
leads  to  habits  of  listless,  cumbersome  or  slovenly  movement  (or 
at  least  makes  improvement  of  such  habits  a  difficult  matter),  and 
precludes  proper  development  and  localized  control  of  the  mus- 
cles.* The  curtailment  of  the  range  of  motion  in  the  joints,  or 
at  least  of  certain  kinds  of  motion,  which  is  sure  to  occur  sooner 
or  later  as  age  advances,  is  favored  by  this  tendency  to  distribute 
movement.  Gymnastic  exercises  of  the  definite,  localized  type 
combat  this  tendency.  By  demanding  strong  contraction  of  all 
parts  of  the  muscles  and  the  full  range  of  motion  in  the  joints, 
they  are  conducive  to  completeness  of  muscular  development,  tend 
to  increase  the  power  of  localizing  movement  as  well  as  muscular 
contraction  and  to  retard  the  gradual  limitation  of  mobility. 

From  the  foregoing  it  must  not  be  inferred  that  all  gymnastic 
exercises  should  conform  in  all  respects  to  the  above  characteriza- 
tion of  definite  movements.  Definiteness  in  the  gymnastic  sense 
does  not  fix  a  limit  for  the  selection  and  combination  of  move- 
ments, although  it  undeniably  leads  to  some  restriction  in  these 
respects.  Tt  is  rather  a  quality  or  style  of  execution  which  may  be 
infused  into  any  kind  of  exercise  to  a  greater  or  less  degree.  Nor 
does  it  imply  exclusion  of  movements  of  a  general  character,  which 
by  virtue  of  greater  distribution  of  muscular  action  are  particularly 
well  suited  to  bring  out  the  organic  or  physiological  effects  of  ex- 
ercise. On  the  contrary,  the  effort  to  attain  some  degree  or  some 
phase  of  the  quality  of  definiteness  (as  far  as  possible  in  such 
movements'),  especially  as  regards  completeness,  vigor,  speed,  etc., 
will  enhance  their  value  and  increase  their  effectiveness  in  stimu- 


INTRODUCTION  7 

lating  the  great  organs.  Moreover,  as  rhythmic  continuity  is  by 
no  means  incompatible  with  definiteness — if  the  exercises  are 
properly  taught — the  majority  of  the  exercises  in  a  lesson,  when 
done  rhythmically,  may  be  made  to  contribute  more  powerfully 
to  this  general  effect. 

In  attempting  to  describe  a  certain  character  and  spirit  of  gym- 
nastic work  and  to  include  it  all  in  the  rather  inadequate  term 
"definiteness,"  the  customary  setting  forth  and  discussion  of  the 
aims  and  objects  of  gymnastics  has  been  more  or  less  incidental. 
(These  will  be  restated  and  discussed  in  a  later  chapter,  prelimi- 
nary to  the  study  of  selection,  classification  and  arrangement  of 
exercises.)  The  division  of  the  gymnastic  lesson  into  groups  of 
exercises  representing,  respectively,  postural,  educational  and 
hygienic  phases  of  gymnastics,  should  not  be  so  prominent  in  the 
teacher's  mind  that,  while  striving  for  one  kind  of  effects  by  one 
set  of  exercises,  he  allows  himself  to  lose  sight  of  the  effects  aimed 
at  by  the  others.  Rather  it  should  be  a  question  of  emphasis.  The 
mental  attitude  of  the  teacher  in  this  respect  is  of  considerable 
practical  importance.  It  may  make  or  mar  the  success  of  the 
lesson  and  of  the  whole  work.  But  the  thorough  application  of  the 
principle  of  definiteness  and  the  constant  striving  for  a  greater  de- 
gree of  it  will  more  or  less  obscure  any  lines  of  demarcation  and 
will  tend  to  make  every  exercise  effective  in  the  several  directions, 
though  perhaps  more  in  some  than  in  others.  At  all  events,  the 
striving  for  definiteness,  as  an  ideal  in  teaching,  cannot  fail  to  im- 
prove the  quality  and  increase  the  effectiveness  of  gymnastic  work. 

The  spirit  of  the  work  and  the  spirit  of  teaching. 

Careful  selection  and  clear  definition  of  the  exercises  do  not, 
in  themselves,  insure  that  definiteness  of  execution  by  the  class 
which  is  necessary  in  order  to  produce  the  desired  results.  The 
arrangement  and  combination  of  movements  in  making  up  the 
lessons,  rational  progression  from  day  to  day,  as  well  as  techni- 
cal skill  in  teaching  and  class  management,  are  at  least  equally 
important  in  getting  the  work  done  properly.  Above  all,  the 
teacher's  personality — his  enthusiasm,  vitality,  strength  of  con- 
viction and  purpose,  as  expressed  through  the  technical  resources 
of  the  art  of  teaching  and  through  his  influence  in  making  the 
pupils  apply  what  they  learn  in  class  to  daily  habits  of  movement 
and  posture — will  determine  the  degree  of  success  of  the  work, 
here  as  everywhere. 

To  elicit  the  response  and  secure  the  cooperation  necessary  for 
effective  work,  the  teacher  must  create  a  "spirit  of  the  work," 
expressing  itself  in  snappy  and  energetic  action  and  cheerful  alac- 
rity. To  make  that  spirit  grow,  he  must  imbue  the  pupils  with 


5  GYMNASTIC  TEACHING 

his  own  enthusiasm  and  interest  in  the  work,  give  them  some 
idea  of  its  main  purpose,  character  and  plan.  Then  demand,  as 
a  matter  of  course,  the  best  efforts  of  which  they  are  capable ; 
insist,  without  nagging,  that  they  do  full  justice  to  themselves  and 
the  work.  Assume,  in  general,  that  any  lapse,  or  failure  to  do 
good  work,  is  due  to  a  lack  of  understanding,  either  of  a  particu- 
lar exercise,  or  of  the  spirit  of  the  work.  Make  them  feel  that 
the  teacher  is  not  a  taskmaster,  but  is  working  with  them  and  for 
them. 

To  foster  this  spirit  of  cooperation,  every  teacher  should  give 
of  himself  freely,  spend  himself  almost  to  the  limit  of  his  powers, 
be  indefatigable  in  his  interest  in  each  individual.  As  his  techni- 
cal teaching  skill  increases  he  should  not  use  it  to  save  himself, 
but  rather  to  get  greater  results  from  his  efforts :  better  response, 
more  vigorous  and  accurate  execution  of  the  exercises,  deeper  and 
more  lasting  impressions  on  the  pupils.  Then  follow  up  the  class 
teaching  by  admonitions,  advice,  help  or  encouragement  outside 
of  the  classroom — in  the  examining  room,  in  the  office,  on  the 
gymnasium  floor  outside  of  class  hours,  in  the  dressing  room,  on 
the  campus,  yard  or  even  street.  Mingle  with  the  pupils  freely 
and  try  to  get  at  their  point  of  view.  Enter  into  their  interests. 
Satisfy  their  minds,  as  far  as  possible,  on  matters  of  administra- 
tion and  management  as  well  as  on  subject  matter,  whenever  there 
is  frank,  honest  questioning  or  misapprehension.  Do  not  keep 
aloof.  Treat  them  as  fair-minded  beings  and  take  them  into  your 
confidence  as  far  as  possible.  Meet  them  on  terms  of  human 
equality  at  all  times ;  make  them  feel  that  the  classroom  discipline 
and  formal  relations  are  merely  devices  necessary  to  facilitate  in- 
struction and  make  possible  cooperative  action  in  which  each  has 
an  equal  share.  Such  a  spirit  will  always  be  appreciated  by  a  class 
and  insure  the  hearty  support  and  willing  cooperation  of  a  ma- 
jority of  its  members. 


II.     GENERAL  PRINCIPLES. 


1.     SOME  ESSENTIALS  FOR  SUCCESSFUL  TEACHING. 

The  elements  of  strength  and  success  of  a  teacher  lie  within 
himself  rather  than  in  external  conditions  and  circumstances. 
They  are  dependent  largely  on  inherent  qualities  which  are  not  to 
be  acquired  by  imitation  of  someone  else,  or  by  trying  to  live  up  to 
certain  rules  or  formulas.  Style,  method,  system,  while  of  some 
importance,  are  not  essential.  Good  results  may  be  obtained  in 
various  ways,  if  fundamental  principles  are  adhered  to.  While 
some  successful  teaching  is  achieved  by  untrained  teachers  who 
instinctively  or  by  long  experience  have  found  and  followed  main 
principles,  or  who  make  up  for  lack  of  technical  skill  by  enthu- 
siasm, devotion  and  energy,  it  must  be  admitted  that  a  great  deal 
of  mediocre  work  is  done  which  might  be  vastly  improved  if  the 
teachers  were  better  trained,  not  only  in  the  sciences  on  which  the 
work  itself  is  based,  but  in  the  art  of  teaching  it.  Here,  as  every- 
where else,  there  is  the  same  difference  between  skilled  and  un- 
skilled work,  between  crude  if  ever  so  honest  efforts  and  finished 
workmanship.  Even  the  born  teacher,  the  natural  genius,  may 
profit  and  the  quality  of  his  work  be  improved  by  a  study  of  prin- 
ciples and  technique,  with  a  view  to  making  him  a  finished  artist ; 
while  those  who  are  more  modestly  equipped  by  nature  may  gain 
proficiency  and  facility  by  the  same  process. 

Learning  by  practice  and  experience,  while  perhaps  the  most 
effective  way,  is  not  always  sufficient.  It  is  costly,  severe  and 
often  slow  in  its  results.  Many  mistakes  and  trials  may  be  avoided 
by  understanding  from  the  outset  certain  general  principles  which 
underlie  all  teaching  and  certain  details  of  method  and  procedure 
peculiar  to  our  own  work.  Proficiency  is  never  attained  without 
experience,  but  theoretical  considerations  and  careful,  intelligent 
observation  may  enable  us  to  derive  a  larger  measure  of  profit 
from  our  own  experience,  and  to  increase  it  considerably  by  turn- 
ing to  profitable  account  the  experience  of  others. 

Three  things,  then,  are  indispensable  for  complete  success : 
1.  Natural  aptitude  and  a  strong  personality.  2.  A  study  of 
principles  and  methods  with  observation  of  their  practical  applica- 
tion. 3.  Actual  practice  and  experience  in  teaching.  Any  one 
or  two  without  the  other (s)  will  leave  something  to  be  desired; 
too  great  reliance  on  any  one  with  neglect  of  the  others  will  mili- 
tate against  the  fullest  measure  of  success. 


10  GYMNASTIC  TEACHING 

Personality  of  the  teacher.  The  first  of  these  essentials  includes 
the  character,  the  living  power,  keen  insight,  resourcefulness,  zeal, 
faithfulness,  energy,  enthusiasm,  willingness  to  give  of  himself 
without  stint — in  short,  all  those  qualities,  ideals  and  habits  of  the 
teacher  which  taken  together  make  up  his  personality.  These 
cannot  be  communicated  or  subjected  to  rules  and  definitions,  be- 
ing infinitely  varied  and  subtle.  The  qualities  which  make  one 
teacher  successful  may  not  be  the  same  as  those  which  make 
another  equally  strong  and  successful. 

Perhaps  in  no  other  calling  does  personality  play  such  an  im- 
portant role  as  in  that  of  teaching.  In  most  occupations  the  ef- 
ficiency of  the  worker  depends  mainly  on  his  special  physical  and 
mental  qualifications,  the  dealings  between  people  which  are  in- 
volved being  related  to  material  things.  But  with  the  teacher,  as 
with  the  minister  and  physician,  the  working  material  itself  is  the 
human  mind,  and  here  the  influence  of  personality  finds  its  greatest 
scope.  This  is  especially  true  in  gymnastics  because  of  the  intimate 
relation  and  close  association  between  teacher  and  pupils.  Here, 
even  more  than  anywhere,  it  is  as  much  a  question  of  what  a  man 
is,  as  what  he  does.  Among  the  personal  attributes  which  make 
for  the  success  of  a  teacher  are :  patience,  cheerfulness,  good  tem- 
per ;  keen  sense  of  humor,  ready  wit,  a  level  head  ;  sympathy,  sense 
of  justice,  self-control,  leadership;  vitality  and  a  fairly  good 
physique;  quick  eye  and  ear  and  a  good  voice.  Many  of  these,  if 
existing  in  an  undeveloped  state,  may  be  cultivated  and  made 
stronger  by  resolute  desire  and  effort  of  will,  and  by  creating  as 
far  as  possible  an  environment  favorable  for  their  growth  from 
within.  Some  of  them  may  also  be  developed  by  formal  training. 

Knowledge  of  principles  and  methods.  While  the  personality 
of  the  teacher — the  sum  total  of  his  natural  endowment,  his  edu- 
cation and  general  experience — is  perhaps  the  most  important 
single  item  on  which  successful  work  depends,  his  technical  train- 
ing and  teaching  skill  constitute  an  almost  equally  essential  part  of 
his  equipment.  Such  technical  training  should  include  a  study  of 
the  main  anatomical,  physiological  and  psychological  facts  on 
which  the  selection,  definition,  arrangement  and  progression  of  the 
work  are  based  ;  a  working  knowledge  of  the  general  principles  of 
all  teaching,  sufficient  to  an  understanding  of  the  little  peculiari- 
ties of  human  nature  that  are  constantly  met  and  have  to  be 
reckoned  with,  serving  to  warn  him  against  and  enable  him  to 
avoid  many  pedagogical  pitfalls  and  difficulties — faults  of  com- 
mission or  omission  which  experience  has  shown  to  be  conducive 
to  ill  success.  Along  with  this  general  theoretical  training  should 
go  a  study  and  practice  of  the  subject  matter  to  be  taught,  with  a 
view  to  attaining  at  least  moderate  ability  and  skill  as  a  performer, 
and  insuring  an  ample,  varied  and  accurate  knowledge  of  the 


ESSENTIALS  FOR  SUCCESSFUL  TEACHING  11 

material.  Familiarity  with  the  subject  matter  should  be  much 
wider  than  the  exigencies  of  any  particular  class-teaching  at  any 
given  time  might  require,  so  as  to  have  a  reserve  for  emergencies, 
to  allow  for  leeway  and  loss  in  transmission,  and  in  order  to  give 
the  teacher  a  sense  of  security  and  confidence.  It  will  enable  him 
to  meet  unexpected  contingencies,  such  as  stating  reasons  for  a 
given  procedure,  or  the  preference  for  one  rather  than  another. 
Finally,  the  earnest  and  most  painstaking  efforts  of  every  prospec- 
tive or  actual  teacher  should  be  given  to  a  consideration  of  the 
devices  by  which  instruction  in  this  particular  work  is  made  effec- 
tive, the  methods  used  for  accomplishing  the  results  that  the  work 
stands  for :  the  use  of  language,  voice,  demonstration,  etc. ;  in 
short,  the  technique  of  teaching  gymnastics. 

That  any  special  technical  training  is  required,  or,  indeed,  that 
there  is  any  such  thing  as  a  special  technique  in  teaching  gymnas- 
tics, is  hardly  realized  by  the  public  or  even  by  teachers  of  other 
subjects.  This  is  not  to  be  wondered  at,  considering  that  it  is  not 
so  long  since  the  chief  qualification  of  a  teacher  was  considered 
to  be  skill  or  reputation  as  a  performer.  Until  recently  very  little 
emphasis  has  been  given  to  the  technique  of  teaching,  even  in  nor- 
mal courses.  And  this  in  spite  of  the  fact,  attested  by  teachers 
who  have  had  other  experience,  that  gymnastics  is  one  of  the  moat 
difficult  subjects  to  teach,  requiring  as  it  does  absolute  attention, 
vigorous  effort  and  intelligent  cooperation  of  all  the  pupils  at  the 
same  time. 

Although  some  crude  teaching  still  passes  muster — either  be- 
cause the  public  has  not  yet  learned  to  judge  the  work  critically, 
or  because  the  supply  of  well-trained  teachers  has  not  yet  caught 
up  with  the  demand,  or  because,  even  when  poorly  taught,  the  work 
may  still  yield  some  obvious,  beneficial  results — nevertheless  the 
demand  for  skilled  teachers  is  growing  and  the  standards  of  pro- 
fessional competence  are  rapidly  advancing.  In  the  normal  schools 
more  and  more  attention  is  given  to  courses  on  the  principles  and 
technique  of  teaching  and  greater  facilities  are  offered  for  prac- 
tice-teaching. To  qualify  as  teachers  or  supervisors  in  public 
schools  candidates  are  subjected  to  practical  tests  in  teaching  and 
criticism  as  a  part  of  their  examination.  Other  things  being  equal, 
the  technically  best-equipped  teachers  gravitate  toward  the  most 
desirable  positions  and  so  compel  those  less  thoroughly  trained  to 
seek  opportunities  for  study  and  improvement,  as  witness  the 
large  and  constantly  increasing  attendance  at  summer  schools  and 
special  courses.  All  these  factors  are  making  for  greater  efficiency 
in  teaching,  for  greater  effectiveness  of  the  work  with  correspond- 
ingly increased  appreciation  and  recognition. 

In  attempting  to  analyze  the  elements  or  factors  which  go 
toward  making  gymnastic  teaching  effective  or  the  reverse,  and 


12  GYMNASTIC  TEACHING 

which  may  be  properly  included  in  a  study  of  the  technique  of 
teaching,  we  are  at  once  confronted  with  the  difficulty  offered  by 
the  diversity  of  conditions  under  which  the  work  is  taught,  the 
varying  emphasis  on  the  objects  aimed  at,  and  the  consequent  va- 
riations in  the  style  or  type  of  work  called  for.  Rules  of  technique 
and  method  might  lead  to  a  stereotyped,  lifeless  style  of  teaching, 
a  feeling  that  only  one  way  is  right  and  all  others  wrong.  To  dis- 
cuss in  a  comprehensive  and  detailed  manner  all  possible  varia- 
tions would  be  too  great  and  difficult  an  undertaking.  Not  until 
we  can  foresee  and  provide  for  all  possible  conditions  and  discuss 
methods  in  the  light  of  a  wide  experience  of  each  of  these  condi- 
tions; not  until  we  possess  a  complete  knowledge  of  psychological 
and  physiological  laws,  can  final,  adequate  rules  be  formulated. 
Such  a  time  will  probably  never  come,  nor  would  it  be  desirable, 
as  that  would  imply  limitation  to  personal  initiative  and  growth. 
It  will,  therefore,  be  necessary  to  limit  the  discussion  to  certain 
topics  or  phases  of  the  subject,  each  embodying  a  few  principles 
and  technical  features  which  are  applicable  in  greater  or  less  de- 
gree to  all  kinds  of  work.  Among  such  topics  are  the  following: 
Control  and  class  management ;  formations  and  the  placing  of  the 
class  on  the  floor;  presentation  of  exercises;  supplementary  in- 
struction and  guidance  by  admonitions,  time  marking,  assist- 
ance, etc. ;  starting  and  stopping  exercises  by  signals  or  so-called 
"commands"  ;  the  use  of  the  active  and  relaxed  position  ;  combina- 
tion and  arrangement  of  exercises;  progression.  In  connection 
with  some  of  these  a  few  variations  in  method  or  procedure  will 
be  considered  and  their  respective  advantages  or  disadvantages 
pointed  out. 


2.     CONTROL  AND  CLASS  MANAGEMENT. 

Some  means  by  u'hich  control  may  be  maintained.  Whatever 
may  be  the  style  of  work  taught,  or  the  conditions  under  which 
the  work  is  carried  on,  or  its  aims  and  objects,  the  prime  requisite 
for  successful  teaching  is  that  the  teacher  at  all  times  have  the  class 
well  in  hand,  be  the  undisputed  leader  and  the  master  of  every 
situation.  Class  control  and  management  are  at  once  the  test 
and  the  result  of  the  teacher's  personality,  his  understanding  of 
human  nature,  his  ability  to  adjust  himself  to  conditions  as  he 
finds  them  (or  better  yet,  his  ability  to  create  conditions  favora- 
ble to  the  work),  and  his  correct  application  of  the  principles 
underlying  the  work  and  the  technique  of  its  teaching.  Control 
may  sometimes  be  attained  only  after  a  struggle  (of  wits)  in  which 
the  new  teacher  is  compelled  by  the  class  to  prove  his  right  to 
leadership.  Hut  even  the  best-behaved  class  will,  at  the  outset  and 


CONTROL  AND  CLASS  MANAGEMENT  13 

from  time  to  time,  often  in  subtle  and  apparently  innocent  ways, 
put  the  teacher  to  the  test,  and  if  the  latter  fails  to  measure  up  to 
the  proper  standard,  if  he  is  found  wanting  in  the  qualities  of 
leadership,  the  class  will  gradually,  but  inevitably,  drift  away 
from  habits  of  order,  discipline  and  good  work  to  slackness,  dis- 
order and  mischief.  Or  the  interest  in  the  work  may  fail  either 
to  materialize  at  all,  or,  if  existing  at  first,  to  be  sustained. 

How  to  secure  and  maintain  control  is  a  question  the  full  an- 
swer to  which  cannot  be  given,  at  least  briefly,  as  it  involves  every- 
thing: personality  of  the  teacher;  interest  of  the  class  in  the  work, 
aroused  and  sustained  by  proper  adaptation,  progression  and  pres- 
entation of  the  work  to  the  class ;  the  degree  to  which  the  teacher 
is  able  to  appeal  to  the  various  motives  and  incentives  of  the  class 
or  individual  members  of  it ;  the  teacher's  will  power  and  vitality 
generally,  and  at  any  given  lesson ;  his  ability  to  "get  in  touch" 
with  the  class,  to  establish  and  maintain  the  right  personal  rela- 
tions ;  his  attention  to  all  the  technical  details  of  teaching. 

Incentives.  Some  teachers  control  largely  by  "exercising  their 
authority,"  by  virtue  of  the  awe  or  fear  they  inspire,  by  constantly 
holding  the  whip  of  compulsion  over  their  pupils.  This  form  of 
appeal  is  the  lowest  and  should  never  be  resorted  to,  except  once 
in  a  while  in  the  case  of  refractory  individuals  after  all  other 
means  have  failed.  It  is  the  wrong  kind  of  discipline — negative, 
or  "discipline  from  above" — demanding  abject  obedience  and 
creating  a  most  undesirable  mental  atmosphere.  Other  teachers 
control  their  classes  through  the  respect  and  affection  they  are  able 
to  inspire,  by  imbuing  their  pupils  with  a  desire  to  do  their  best  in 
order  to  please  the  teacher  and  gain  his  approbation ;  others  again 
because  they  are  able  to  arouse  the  sense  of  duty  in  their  pupils, 
inducing  them  to  try  to  do  the  work  well  because  it  is  worth  doing, 
or  simply  because  it  is  a  part  of  their  obligation  to  the  institution ; 
or  by  appealing  to  intelligent  self-interest,  to  a  commendable  de- 
sire to  derive  the  greatest  possible  benefit  from  the  work ;  still 
others  chiefly  by  communicating  to  their  pupils  their  own  enthu- 
siasm and  interest  in  the  work  and  making  it  truly  enjoyable  for 
its  own  sake.  All  these  avenues  of  appeal,  except  the  first,  are 
useful  and  legitimate  means  of  maintaining  control.  The  most 
successful  teachers  are  those  who  know  how  to  play  upon  these 
different  motives  and  incentives  of  the  class  most  skillfully,  in 
the  right  proportion  and  at  the  proper  time. 

Will  power.  One  of  the  essentials  in  getting  and  keeping  con- 
trol of  a  class  is  a  strong,  well-trained  will  and  a  positive,  deter- 
mined mental  attitude  on  the  part  of  the  teacher.  Even  when  the 
conditions  under  which  he  is  working  are  in  the  main  favorable, 
he  usually  has  to  overcome  the  natural  inertia,  the  disinclination 
to  vigorous  mental  and  bodily  exertion  on  the  part  of  the  class 


14  GYMNASTIC  TEACHING 

(and  often  of  himself).  This  is  particularly  apt  to  be  the  case  in 
the  beginning  of  the  lesson,  at  the  first  "plunge"  into  the  work, 
before  the  class  has  become  "warmed  up"  to  it.  But  it  is  also 
true  to  an  almost  equal  extent  throughout  the  lesson.  To  have 
every  member  of  the  class  execute  each  movement  in  the  best 
possible  manner,  in  a  way  to  accomplish  the  purpose  for  which  it 
is  given,  in  perfect  unison,  with  the  utmost  effort  and  painstaking 
care,  whether  at  the  time  agreeable  or  not,  requires  a  cooperative 
interplay  of  will  power  between  the  teacher  and  the  class  which 
taxes  the  strength  and  tests  the  mettle  of  both.  Such  combined 
exercise  of  the  wills  of  the  leader  and  the  group,  the  leader  fur- 
nishing the  initiative,  the  impetus  and  the  stimulation,  is  the  essen- 
tial feature  of  all  cooperative  action.  It  does  not  mean  slavish 
obedience,  the  subjection  of  the  pupil's  will  to  that  of  the  teacher, 
but  rather  the  guidance  of  the  former  by  the  latter  in  the  accom- 
plishment of  some  definite,  desirable  object.  The  work,  the  duty, 
or  the  cause  is  the  real  driving  power  of  both  the  leader  and  the 
group.  In  this  sense  obedience — willing  cooperation  on  the  part 
of  the  pupil — is  really  induced  exercise  of  the  pupil's  will  and  may 
justly  be  considered  effective  in  training  of  the  will.  At  any  rate, 
cooperative  action  of  this  sort,  initiated  by  the  teacher,  and  com- 
prising, as  it  does,  both  positive  effort  and  inhibition  of  undesira- 
ble action  by  the  pupil,  is  real  self-discipline.  It  should  serve  to 
illustrate  voluntary  obedience  to  law  and  constituted  authority, 
the  self-restrictions  imposed  by  an  intelligent  and  worthy  plan 
of  life  and  readiness  to  accept  the  suggestions  and  guidance  of  a 
trusted  leader.  All  these  phases  of  self-discipline  are  necessary 
in  any  true  democracy  and  must  be  practiced  by  every  good  citi- 
zen. "The  habit  of  obedience  to  law,  of  bringing  our  actions  into 
harmony  with  it,  is  one  of  the  first  conditions  of  an  orderly  and 
well-disciplined  life."  (J.  G.  Fitch.) 

The  degree  of  willing  cooperation  on  the  part  of  the  class  will 
then  be  the  measure,  for  one  thing,  of  the  teacher's  will  power. 
This  in  turn  is  expressed  through  his  self-control,  his  strength  of 
purpose,  and  his  ability  to  liberate  energy.  It  will  vary  with  his 
physical  condition,  with  his  mental  state,  his  ideals  and  tempera- 
ment. Undue  fatigue,  emotional  disturbance,  even  atmospheric 
conditions  may  blunt  the  keen  edge  of  his  will  power  and  be  re- 
flected by  slackness  or  poor  quality  of  work  on  the  part  of  the 
class.  Will  power  in  the  teacher  will  show  itself  among  other 
things  by  his  self-possession,  bv  a  firm,  decided,  animated  attitude, 
manner,  tone  of  voice;  the  lack  of  it  by  a  nervous,  irritated,  or 
uncertain  manner,  hesitation  in  voice  and  bearing,  aimless  move- 
ments, superfluous  speech,  nervous  mannerisms,  etc. 

A  quiet  but  determined  manner,  an  air  of  expecting  to  be 
listened  to  attentively  as  a  matter  of  course,  being  an  expression 


CONTROL  AND  CLASS  MANAGEMENT  15 

of  the  real  feeling  that  such  is  the  case,  will  go  a  great  way  toward 
securing  that  willing  obedience  which  is  the  first  requisite  to  co- 
operation. On  the  other  hand,  "obedience  cannot  be  gained  by 
demanding  it  (in  words  or  by  gestures  which  are  supposed  to  be 
manifestations  of  will  power),  or  by  explaining  its  usefulness,  or 
by  entreaty,  or  by  threat — all  these  are  signs  of  weakness  and 
lack  of  will  power."  (Fitch.) 

Interest.  Getting  and  keeping  in  touch  with  the  class.  Class 
control  is  very  much  dependent  on  the  interest  of  the  pupils  in  the 
work.  When  this  is  lacking,  control  can  only  be  maintained 
through  "the  exercise  of  authority"  in  an  undesirable  way.  In- 
terest in  turn  depends  on  the  proper  adaptation,  character,  plan- 
ning, progression  and  presentation  of  the  work.  It  also  depends 
on  the  teacher's  ability  to  get  in  touch  with  the  class,  to  establish 
and  maintain  the  right  mental  relations,  to  infuse  into  the  class 
his,  own  interest  in  the  work.  While  the  teacher's  personality  is 
a  large  factor  in  this  as  in  everything,  a  judicious  "introduction" 
of  the  work  to  the  class  is  of  great  help.  A  certain  amount  of 
explanation  by  the  teacher  of  the  nature,  plan  and  purpose  of  the 
work  is  always  possible  and  should  be  given  at  the  first  meeting 
of  the  class.  The  form  and  comprehensiveness  of  such  a  pre- 
liminary statement  will  vary  with  the  age  of  the  pupils,  their  prob- 
able attitude  toward  the  work,  and  the  conditions  under  which  it 
is  carried  on.  At  such  a  time,  after  having  stated  briefly  and 
clearly  the  objects  of  the  work  as  he  conceives  them  and  what 
kind  of  work  in  his  judgment  will  best  attain  these  objects,  the 
teacher  may  in  a  straightforward,  simple  way  ask  the  pupils  to 
give  him  their  cheerful  cooperation  in  his  efforts  to  organize  the 
class  and  to  drill  it  in  those  details  which  are  necessary  to  enable 
him  to  handle  it  like  a  well-adjusted  machine.  He  may  appeal 
to  the  group  spirit  by  pointing  out  the  necessity  of  each  member 
doing  his  best  in  order  to  insure  unison,  good  quality  and  finish 
to  the  work  of  the  class  as  a  whole.  He  may  suggest  the  advan- 
tage of  going  slowly  in  the  beginning  so  as  to  master  fundamental 
details  before  attempting  more  rapid  and  complex  work,  with  a 
view  to  progressing  farther  and  faster  in  the  long  run.  In  con- 
clusion, he  may  show  the  importance  of  starting  and  finishing  all 
exercises  in  a  good  fundamental  position.  Then  begin  the  lesson 
by  practicing  this  as  an  exercise  in  response  to  the  signal  "At- 
tention!" and  in  a  way  to  make  the  contrast  between  this  funda- 
mental and  the  relaxed  position  as  striking  as  possible. 

When  physical  examinations  are  made  before  the  work  begins, 
the  teacher  has  a  good  opportunity  to  arouse  the  individual  pu- 
pil's interest  by  pointing  out  his  needs  for  improvement  and  by 
giving  him  a  general  idea  of  the  kind  of  work  which  will  best 
accomplish  this.  Here  he  can  show  him  how  to  stand  and  walk 


16  GYMNASTIC  TEACHING 

erect  and  urge  him  to  practice  this  as  a  special  exercise  until  he 
can  do  it  with  ease  and  almost  unconsciously.  He  can  also  em- 
phasize the  importance  of  maintaining  this  forced  erect  carriage 
throughout  all  individual  and  class  exercises,  and  urge  the  advan- 
tage of  doing  each  exercise  with  the  utmost  accuracy  and  power. 
The  extent  to  which  the  teacher  can  in  this  way  prepare  the 
minds  of  the  pupils  and  enlist  their  cooperation  beforehand  will 
determine  the  character  of  the  work  and  the  method  of  teaching, 
at  least  in  the  beginning.  If  the  age  and  intelligence  of  the  class 
and  its  serious  interest  in  the  work  warrant  it,  he  may,  for  exam- 
ple, find  it  feasible  and  wise  to  drill  on  some  fundamental  details, 
to  demand  quick  response  to  signals  (commands)  and  a  fair  de- 
gree of  precision  and  unison  in  the  execution  of  a  few  simple, 
definite  movements  at  the  first  lesson.  If,  on  the  other  hand,  the 
class  is  of  an  age  or  mental  attitude  in  which  that  kind  of  a  lesson 
would  fail  to  be  appreciated  and  arouse  interest,  because  its  pur- 
pose could  not  be  readily  understood,  it  would  be  wiser  to  spend 
less  time  on  details,  to  use  only  the  less  definite  types  of  exercise 
and  at  once  to  strive  for  continuity,  swing  and  go.  Such  work 
would  be  more  likely  to  catch  and  hold  the  attention  of  the  pu- 
pils, to  call  forth  their  most  vigorous,  even  if  crude  efforts,  and 
to  produce  the  immediate  and  obvious  organic  effects  which  they 
are  capable  of  appreciating.  In  most  cases,  it  will  probably  be 
best  to  mix  the  two  kinds  of  work  in  varying  proportions,  but 
with  the  less  definite  exercises  predominating.  If  this  is  done 
judiciously,  beginning  and  ending  the  lesson  with  lively  exercises, 
the  teacher  will  at  once  get  in  touch  with  the  class,  there  will  be 
no  slackening  of  interest  and  therefore  no  danger  of  loss  of  con- 
trol. 

3.     DISCIPLINE  AND  ATTENTION. 

Discipline.  Among _the  most  fundamental  and  obvious  elements 
or  expressions  of  control  are  orderly  behavior,  decorum,  coopera- 
tion and  attention  to  duty — collectively  included  in  the  term  disci- 
pline. In  the  best  sense,  discipline  is  positive,  implies  organized, 
well-ordered  group  activity.  It  involves  a  keen  sense  of  respon- 
sibility of  each  member  of  the  group,  requires  his  alert  attention, 
quick  thinking  and  prompt  action  in  relation  to  and  for  the  suc- 
cess of  the  group  action.  Ideally,  it  is  the  resultant  of  the  self- 
discipline  of  each  individual  and  is  then  essentially  a  matter  of 
attention  based  on  interest.  This  term  also  implies  inhibition  and 
repression,  as  well  as  measures  producing  these.  The  last  is  really 
a  misuse  of  the  term.  Poor  discipline  in  teaching  means  imper- 
fect control  and  slovenly,  ineffective  work. 

\Yith  favorable  conditions,  such  as  good  morale  and  traditions 


DISCIPLINE  AND  ATTENTION  17 

of  the  institution,  a  recognized  standing  and  good  backing  of  the 
work  and  the  right  relations  between  teacher  and  class,  discipline 
is  rarely  a  problem.  Good  discipline  is  then  a  matter  of  course, 
the  natural,  normal  condition  of  things.  It  is  insured  and  main- 
tained by  giving  the  class  abundant  work  requiring  the  constant 
exercise  of  the  mental  and  bodily  powers  of  the  pupils,  and  of 
such  a  character  as  to  arouse  and  keep  their  interest.  Then  it 
needs  no  mention  or  sign  of  conscious  management  on  the  part 
of  the  teacher.  And  yet,  the  maintenance  of  such  a  desirable 
state  of  things  requires  his  thoughtful  consideration  and  watch- 
fulness, his  constant  self-control,  ready  resourcefulness  and  good 
judgment.  There  will  always  arise  occasions,  even  in  well-be- 
haved classes,  when  something  occurs  which,  if  not  properly  met, 
might  lead  to  a  breach  of  discipline  and  at  least  temporary  loss 
of  control.  It  may  be  some  little  slackness  in  the  beginning  of  a 
lesson,  insufficient  alacrity,  some  thoughtlessness  or  excessive  high 
spirits  on  the  part  of  one  or  a  few  pupils,  of  no  great  harm  or 
consequence  in  itself,  but  apt  to  lead  to  other  things  or  to  be 
"catching."  All  such  little  deviations  from  good  order  and  dis- 
cipline, especially  such  as  are  out  of  keeping  with  the  spirit  of  the 
work,  must  not  be  allowed  to  pass  without  notice,  lest  they  grow 
and  multiply.  A  word,  or  even  a  look,  not  necessarily  severe  but 
sufficient  to  indicate  that  the  incident  has  been  observed  and  dis- 
approved, may  be  sufficient.  If  any  considerable  number  have 
been  guilty,  a  few  words  of  censure,  spoken  calmly  and  without 
any  show  of  personal  annoyance  or  resentment,  may  be  advisable, 
especially  if  the  pupils  are  very  young.  If  really  flagrant  breaches 
of  discipline  should  occur,  more  vigorous  measures  may  be  neces- 
sary, such  as  sharp  reproof  of  individuals  before  the  class,  convey- 
ing the  idea  that  the  offense  has  been  against  the  class,  the  im- 
position of  a  suitable  penalty  in  keeping  with  the  customs  of  the 
institution,  loss  of  privileges  and  even  exclusion  from  the  class 
for  the  time  being.  Perhaps  the  best  and  most  effective  way  in 
such  cases  is  to  ask  the  offending  pupil  to  see  the  teacher  after 
class.  Then  the  matter  can  be  talked  over  quietly,  the  reasons 
for  and  the  circumstances  leading  up  to  the  offense  inquired  into, 
and  the  right  kind  of  appeal  or  pressure  be  brought  to  bear.  In 
this  way  a  deeper  and  more  lasting  impression  is  made  and  repe- 
titions are  less  likely  to  occur.  The  moral  effect  on  the  rest  of 
the  class  is  also  considerable. 

If  a  whole  class  show  a  spirit  of  mischief  or  antagonism  to  a 
new  teacher,  he  can  in  most  cases  conquer  it  by  a  fearless  and 
apparently  unconcerned  manner  on  noting  the  first  signs  ;  then, 
perhaps,  by  reprimanding  one  or  two  in  quiet  tone,  but  with  a 
look  and  manner  conveying  the  impression  of  unlimited  reserve 
power,  of  perfect  understanding  of  the  situation  and  ability  to 


18  GYMNASTIC  TEACHING 

deal  with  it.  In  the  meanwhile  he  may  decide  in  his  own  mind 
what  to  do  in  case  of  further  trouble ;  then,  if  its  seems  unavoid- 
able, make  the  issue  in  a  few  well-chosen  words,  and  "land  hard" 
on  the  first  offenders,  using  whatever  legitimate  means  he  has  at 
his  command.  If  possible,  meet  the  issue  smilingly,  but  in  any 
case  with  firmness  and  determination.  Above  all,  give  no  sign  of 
being  disconcerted  or  irritated,  as  that  is  exactly  what  a  mischie- 
vous class  desires.  When  a  class  finds  that  a  teacher  is  fearless 
and  cool,  seems  to  know  his  business  and  to  understand  the  men- 
tal workings  of  the  group  and  of  every  individual,  it  soon  settles 
down  to  a  business-like  attitude.  When  two  or  more  individuals 
habitually  incite  each  other  to  mischief  or  inattention,  separation 
may  be  all  that  is  necessary. 

Under  all  circumstances,  it  is  essential  that  the  teacher  keep  his 
temper  and  administer  reproof  or  punishment  in  a  manner  free 
from  any  suggestion  of  personal  animosity.  While  a  show  of 
righteous  indignation  or  even  wrath  may  on  rare  occasions  be 
justifiable,  and  very  effective,  it  is  safest  to  avoid  any  explosive 
reaction,  any  violent  collision  with  individuals  or  class.  It  is 
always  desirable  to  control  by  gentle  means  as  far  as  possible  and 
to  keep  the  idea  of  compulsion  by  severe  measures  in  the  remote 
background.  Make  the  pupils  feel  that  you  take  for  granted  co- 
operation and  good  behavior  on  their  part  and  treat  any  small 
lapse  with  surprise  and  disappointment.  Do  not  be  too  quick  to 
make  a  rule  or  a  threat,  especially  if  enforcement  or  fulfillment 
would  be  difficult.  But  if  for  any  reason  compelled  to  make  the 
issue  squarely,  then  stick  to  it  to  the  bitter  end  (providing  you 
are  in  the  right),  no  matter  what  trouble  or  discomfort  may  grow 
out  of  it — to  yourself  as  well  as  to  the  pupils. 

The  manner  of  showing  disapproval  is  of  great  importance. 
This  applies  to  the  execution  of  an  exercise  as  well  as  to  the 
general  behavior  of  the  class.  Reproof,  reproach  or  punishment 
of  any  kind  is  a  matter  requiring  much  pedagogical  tact  and  judg- 
ment. It  should  always  be  spontaneous,  frank  and  impersonal. 
Whenever  possible  without  spoiling  the  result,  inject  a  little  hu- 
mor into  the  situation.  This  is  often  more  effective  than  stern- 
ness, especially  in  minor  matters.  It  gives  the  class  the  feeling 
that  the  teacher  can  easily  handle  any  situation,  has  plenty  of  re- 
serve power,  does  not  criticise  or  censure  from  a  spirit  of  pedantry 
or  fussiness  and  does  not  lake  himself  too  seriously.  Hut  be 
sure  that  the  humor  is  of  a  kindlv  nature  and  spontaneous.  Avoid 
sarcasm  of  a  biting,  and  especially  of  a  sneering  kind.  It  is  sure 
to  be  resented,  as  it  always  means  that  the  teacher  is  taking  ad- 
vantage of  his  position  in  an  unfair  way. 

Knowing  when  and  how  to  express  disapproval  and  above  all, 
not  overdoing  it.  coupled  with  judicious  commendation  for  good 


DISCIPLINE  AND  ATTENTION  19 

work  and  a  cheering,  encouraging,  friendly  attitude  at  all  times, 
is  one  of  the  chief  factors  of  success  in  maintaining  discipline  and 
at  the  same  time  keeping  on  good  terms  with  the  class.  Another 
is  to  furnish  an  abundance  of  hard,  but  interesting  work.  No 
general  rules  can  be  laid  down,  except  that  of  being  just  and  im- 
personal. Assuming  as  far  as  possible  that  minor  infractions  are 
unintentional  lapses,  due  to  momentary  forgetfulness  or  inability 
promptly  to  change  from  a  state  of  playful  excitement  or  inertia 
to  one  of  serious  attention  and  alacrity,  rather  than  to  willful  de- 
sire to  annoy  or  reluctance  to  work,  and  treating  them  as  such, 
will  usually  be  the  best  way.  But  guard  against  letting  the  class 
think  that  even  little  things  can  pass  unnoticed  or  will  be  accepted 
— that  the  teacher  is  "easy."  "Nip  things  in  the  bud !"  Always 
show  gentle  but  firm  and  unmistakable  disapproval  of  the  least 
breach  of  discipline,  slackness,  mind  wandering  or  whatever  the 
case  may  be,  and  so  make  the  possibility  of  really  serious  trouble 
increasingly  remote  and  out  of  the  question. 

Attention.  While  coercive  measures  and  repression  may  some- 
times be  necessary,  they  should  only  be  applied  to  individuals  in 
order  to  support  discipline.  This  may  be  said  to  represent  the 
negative  side  of  class  control.  Securing  and  maintaining  atten- 
tion constitutes  its  positive  or  active  phase.  Negative  discipline 
implies  inhibition  or  repression  of  impulses  and  actions  subversive 
of  good  order  and  the  right  conditions  for  work.  Attention — in 
the  ordinary  sense,  and  also  including  all  that  is  implied  in  such 
terms  as  alertness,  alacrity,  response,  readiness  and  willingness  to 
think  and  to  do — is  an  essential  feature  of  the  work  itself.  Lack- 
ing this  positive,  controlled,  fixed  and  willingly  given  attention, 
the  work  is  but  a  sorry  spectacle,  devoid  of  life  and  interest,  per- 
functory, listless  and  of  doubtful  value,  even  though  there  be 
perfect  decorum  and  a  kind  of  submissive,  passive  "pseudo"-atten- 
tion.  When  active  attention  has  been  established  and  every  indi- 
vidual is  ready  and  willing  to  work,  understands  what  to  do  and 
how  to  go  about  it,  there  will  be  no  need  for  repressive  measures, 
no  call  for  the  exercise  of  authority  to  maintain  discipline.  This 
is  but  the  application  of  the  common  principle  of  forestalling  and 
inhibiting  undesirable  action  by  inducing  right  action,  of  diverting 
aimless,  useless  or  mischievous  impulses  and  energy  into  useful 
channels,  into  purposeful  activity.  It  will  readily  be  seen  that  not 
only  control  but  the  success  of  the  work  from  all  points  of  view 
hinge  on  the  teacher's  ability  to  stimulate  and  hold  this  active,  di- 
rected, fixed  attention.  How  to  focus  the  mental  processes  of  a 
number  of  mind-wandering,  indifferent,  inert  and  perhaps  even 
antagonistic  individuals,  or  a  lot  of  excited,  rollicking,  contending, 
play-fighting,  wildly  shouting  young  savages,  as  the  case  may  be, 
upon  the  serious,  orderly,  formal  work  in  hand ;  how  to  keep  these 


20  GYMNASTIC  TEACHING 

various  minds  steadily  and  unswervingly  applied  to  definite,  dis- 
criminating, vigorous  efforts,  the  purpose  of  which  may  be  only 
vaguely  understood  and  the  incentive  for  which  is  sometimes  dis- 
tant and  more  or  less  abstract,  is  often  a  task  of  considerable 
magnitude  and  difficulty.  It  taxes  the  vitality,  the  strength  of 
will,  the  natural  and  trained  powers  of  leadership  of  the  teacher 
and  all  the  technical  resources  of  the  art  of  teaching.  Indeed, 
this  is  the  very  essence  of  the  art  of  teaching. 

While  it  would  be  futile  to  attempt  to  enumerate  and  describe 
all  the  factors  which  enter  into  this  problem,  all  the  means  which 
may  be  legitimately  used  to  secure,  stimulate  and  hold  attention, 
or  the  mistakes  which  lead  to  a  loss  of  it,  a  few  suggestions  at 
this  time  may  be  appropriate  and  helpful  ai.  having  a  bearing  on 
class  control.  In  the  detailed  discussion  of  the  technique  of  teach- 
ing, later,  the  subject  of  attention  will  be  often  referred  to  and 
always  borne  in  mind. 

The  beginning  of  the  lesson  is  usually  the  most  difficult  and 
critical  time  in  all  respects.  Especially  is  this  true  when  the  pu- 
pils enter  the  gymnasium  in  an  informal  manner  and  are  allowed 
to  run  around  and  amuse  themselves  in  any  way  they  choose  for 
a  varying  length  of  time  before  the  lesson.  When  control  be- 
comes difficult  on  this  account,  it  may  be  feasible  and  wise  to  cur- 
tail their  free  use  of  the  place  to  some  extent,  as  in  the  use  of 
apparatus,  balls,  etc.  But  even  so,  it  will  hardly  be  possible  or 
wise  entirely  to  curb  youthful  spirits  by  negative  means — restric- 
tion, repression,  interdiction.  It  would  be  better  not  to  allow 
them  on  the  floor  at  all  before  the  lesson,  but  to  keep  them  in  the 
dressing  room  or  hall  until  all  are  ready,  and  then  to  march  them 
in  in  good  order.  This  is  done  in  many  schools.  On  the  other 
hand,  when  a  fairly  long  time  is  allowed  between  periods,  it  be- 
comes a  question  of  whether  it  is  not  better  to  let  them  romp  and 
play  on  the  gymnasium  floor  than  to  try  to  keep  them  quiet  and 
orderly  in  a  crowded  and  often  poorly  ventilated  dressing  room. 
The  former  is  probably  preferable  and  in  many  places  other  than 
schools  may  be  the  only  feasible  way.  In  such  cases  it  will  usually 
take  a  little  time  and  several  steps  to  get  the  class  lined  up  and 
ready  for  work. 

It  would  be  unreasonable  to  expect  an  instantaneous  change 
from  the  varying  mental  states  of  hilarity,  excitement  or  inertia 
to  one  of  quiet  but  alert  attention.  Often  the  teacher's  voice  may 
not  be  adequate  to  arrest  and  change  the  condition  of  things.  A 
bell  or  a  whistle  may  be  necessary  as  a  preliminary  signal.  A  class 
may  be  trained  to  subside  into  quiet  and  even  silence  on  this  sig- 
nal, and  then  to  form  promptly  on  the  command  "Kail  in!"  or 
"Line  up!"  Or  this  may  be  done  without  any  special  signal. 
In  any  case,  it  will  be  worth  while  to  drill  a  class  in  prompt  re- 


DISCIPLINE  AND  ATTENTION  21 

sponse  to  whatever  signal  is  given,  and  to  line  up  in  some  agreed- 
upon  manner  with  the  utmost  alacrity.  Try  to  stimulate  their 
pride  and  spirit  of  emulation  in  this  respect ;  make  each  individual 
feel  responsible  and  loth  to  be  the  last,  or  the  cause  of  delayed 
and  poor  alignment.  It  is  wise  to  allow  a  little  time  for  this  pre- 
liminary formation  before  calling  the  class  to  attention  by  the 
formal  signal.  It  paves  the  way  for  and  insures  a  more  per- 
fect response  to  the  first  "Attention!"  But  make  constant  efforts 
to  shorten  this  time.  With  young  pupils,  and  occasionally  with 
older,  actually  timing  this  manoeuvre  may  prove  a  good  stimulus. 
Even  telling  a  class  (when  the  first  attempt  has  been  unsatis- 
factory) to  break  ranks,  scatter  and  try  it  again,  may  be  effective 
in  the  beginning,  or  later  when  there  is  sign  of  slackness.  But 
this  expedient  might  not  be  safe  if  used  too  often,  or  with  classes 
difficult  to  handle. 

Having  in  an  informal  way  got  the  class  under  partial  control 
and  arranged  in  an  approximately  correct  formation  on  the  floor, 
try  to  get  silence  and  readiness  for  the  real  beginning  of  the  lesson 
by  standing  still  before  the  class,  running  the  eye  along  the  lines 
and  indicating  by  look,  bodily  attitude,  slight  gesture  or  even  a 
brief  admonition,  that  something  is  about  to  happen ;  then  say 
"Attention!"  in  the  most  effective  voice  and  manner  possible.  This 
does  not  mean  in  a  loud  voice,  necessarily.  It  may  be  done  that 
way,  or  more  quietly,  but  always  in  a  tone  and  with  a  manner  in- 
dicating force  of  will,  energy  and  reserve  power,  as  well  as  ex- 
pectancy of  instant  response.  At  the  same  time  there  ought  not 
to  be  too  sfrong  a  suggestion  of  masterfulness  in  a  personal  way. 
Rather  try  to  convey  the  idea  of  something  more  than  that,  of  a 
motive  power  which  is  compelling  and  binding  on  teacher  and  pu- 
pils alike,  namely  the  duty,  the  work  which  both  are  to  accomplish. 
This  applies  to  the  giving  of  all  signals  (so-called  commands). 
To  convey  this  idea  more  clearly  (without  saying  anything  about 
it)  and  at  the  same  time  to  help,  by  suggestion,  to  get  a  satisfac- 
tory response  to  the  signal  "Attention!"  it  is  well  for  the  teacher 
himself  to  respond  with  the  utmost  vigor  (in  unison  with  the 
class,  not  ahead  of  it)  by  assuming  the  fundamental  gymnastic 
position  suddenly,  and  retaining  it  rigidly  for  a  moment  before 
proceeding  further.  If  the  response  of  the  class  is  not  satisfactory, 
if  it  is  lacking  in  promptness  and  does  not  show  a  marked  con- 
trast to  the  position  of  ease,  then  give  "At  case!"  and  repeat,  hav- 
ing first  made  an  admonition,  if  necessary.  After  a  moment's 
immobility  and  perfect  silence,  proceed  briskly  with  the  next  step 
in  the  lesson — usually  the  alignment.  Or,  if  there  are  any  an- 
nouncements or  special  statements  to  make,  do  so  at  this  time. 
But  first  give  the  signal  "At  case!"  then  begin  to  speak  immedi- 
ately after  this  has  been  properly  responded  to.  This  procedure 


22  GYMNASTIC  TEACHING 

insures  their  attentiveness  while  relieving  them  from  the  strain  of 
holding  the  fundamental  position  for  a  considerable  length  of 
time.  On  the  other  hand,  it  avoids  an  inevitable  lapse  from  the 
fundamental  position,  due  to  fatigue  or  forgetfulness,  which  is 
very  undesirable  from  a  pedagogical  standpoint.  \Yhenever  dur- 
ing the  lesson  there  is  an  intermission  or  lengthy  explanation,  the 
class  should  be  formally  relieved  from  the  fundamental  position 
and  allowed  to  stand  at  ease,  though  not  relaxed  to  such  an  ex- 
tent as  to  mean  slouching  or  poor  posture. 

Very  often  control  is  lost,  in  a  small  way  at  least,  by  failing 
to  check  the  tendency  of  most  p;ipils  to  try  to  adjust  their  places 
in  the  line  after  attention  has  been  called.  It  usually  represents 
good  intention,  perhaps  a  mistaken  idea  of  what  is  wanted,  an 
imperfect  understanding  of  the  significance  of  "Attcntio>i!"  or 
at  worst  a  belated  attempt  to  do  something  which  should  have 
been  done  before.  In  any  case,  it  is  obvious  that  the  signal  has 
failed  to  produce  the  desired  reaction,  and  such  failure  should  not 
be  accepted  or  countenanced.  The  acceptance  of  every  such  failure, 
no  matter  what  the  reason,  weakens  the  teacher's  influence  and 
class  control,  as  well  as  the  pupils'  habit  of  active,  concentrated 
attention  and  readiness  for  further  action.  In  this  particular  case 
it  also  tends  to  confusion  of  ideas.  Make  the  distinction  between 
the  signals  "Attention!"  and  "Right  dress!"  clear,  and  insist  that 
each  be  responded  to  in  the  right  way  and  at  the  right  time. 

When  speaking  to  the  class,  either  for  the  purpose  of  instruc- 
tion, description  of  an  exercise,  comment  or  admonition  regard- 
ing its  execution,  or  on  any  other  matter,  it  is  important  that  the 
teacher  stand  in  a  place  and  at  a  distance  from  which  he  can  be 
heard  and  preferably  seen  by  all.  He  should  face  the  class  and 
keep  his  eye  on  all  parts  of  it.  A  platform  may  be  useful  for 
this  purpose  but  is  not  always  necessary  or  even  convenient.  Be 
sure  that  voice  and  enunciation  are  such  that  the  pupils  farthest 
away  are  reached.  Guard  against  the  not  uncommon,  usually 
unconscious,  mistake  of  addressing  those  standing  nearest. 

Do  not  begin  to  speak  until  all  are  quiet  and  attending.  If  in- 
advertently failing  to  wait,  or  if  a  few  pupils  become  inattentive, 
and  especially  if  any  one  speaks  or  otherwise  disturbs  the  absolute 
quiet,  stop  immediately  and  abruptly,  in  the  middle  of  a  sentence 
preferably.  Then  by  look,  gesture  or  quiet  verbal  reminder,  gain 
or  restore  complete  attention.  Do  not  resort  to  vehement  demands 
for  silence  and  attention  or  show  any  signs  of  irritation.  If  re- 
proof seems  necessary,  administer  it  in  a  calm,  self-controlled 
manner,  then  resume  speaking  as  if  nothing  had  happened.  If 
the  teacher  goes  on  speaking  and  accepts  inattention  and  even 
conversation  from  a  part  of  the  class,  this  part  will  grow  larger 
and  larger,  and  soon  the  majority  will  feel  that  strict  attention 


DISCIPLINE  AND  ATTENTION  23 

is  not  expected.  This  is  one  of  the  most  common  ways  in  which 
the  teacher's  hold  on  the  class  is  weakened.  Moreover,  the  pupils 
are  encouraged  to  form  habits  of  discourtesy  and  disrespect. 

Interest  in  the  work  is  an  essential  factor  in  securing  and  hold- 
ing attention.  To  arouse  and  sustain  interest,  the  work  must  be 
adapted  to  the  needs  and  abilities  of  the  class.  It  must  meet  in  the 
first  place  those  needs  of  which  the  pupils  are  aware :  the  needs 
for  exercise,  for  bodily  action  which  will  produce  the  immediate 
organic  stimulation  and  the  exhilaration  or  sense  of  well-being 
associated  with  it.  The  work  should  also  be  of  such  a  character 
that  it  tests  and  makes  full  use  of  the  various  abilities  already 
possessed  by  the  class,  as  regards  strength,  agility  and  skill,  and 
at  the  same  time  is  most  conducive  to  perceptible  improvement  in 
these  directions.  On  the  other  hand,  it  must  be  simple  enough 
to  enable  the  average  pupil  to  do  it  reasonably  well,  thus  giving 
him  a  sense  of  satisfaction  and  encouragement.  The  proper  selec- 
tion, grading  and  adaptation  of  the  work  must  be  backed  up  with 
good  presentation,  animated,  inspiring,  technically  correct  teach- 
ing and  rational  progression.  The  class  must  be  made  aware  of 
progress  in  some  way.  It  is  well,  for  example,  when  introducing 
a  new  type  of  exercise,  or  a  new  combination,  to  indicate  by  a 
few  words  its  purpose,  its  relation  to  similar  exercises  with  which 
the  class  is  familiar — wherein  it  differs,  what  constitutes  the  in- 
creased difficulty,  or  its  particular  effectiveness,  what  final  form 
or  type  it  leads  up  to,  etc. 

Having  aroused  the  interest  and  gained  the  confidence  of  the 
pupils,  the  teacher  can  gradually  modify  their  mental  attitude 
toward  the  work,  lead  them  on  to  different  and  broader  points  of 
view,  indicate  needs  of  which  they  were  not  aware  at  first,  and 
arouse  interest  in  work  suited  to  those  needs.  This  enables  the 
teacher  to  appeal  to  motives  and  furnish  incentives  which  pre- 
viously would  not  have  been  available  or  effective.  Also  he  can 
make  the  pupils  appreciate  phases  and  qualities  of  the  work  which 
require  a  certain  amount  of  progress  and  training  to  be  understood 
and  valued.  Thus  a  skillful  teacher  may  continually  open  up  new 
and  varied  lines  of  interest,  stimulate  a  constantly  increasing  ap- 
preciation of  the  value  and  beauty  of  the  work,  make  it  more  en- 
joyable and  so  secure  the  attention  and  willing  cooperation  of 
the  class. 

The  technical  side  of  teaching  also  plays  an  important  role  in 
maintaining  attention  throughout  the  lesson.  The  teacher  must 
have  facility  and  be  sure  of  himself  in  such  technical  matters  as 
the  presentation  of  exercises,  the  giving  of  signals  to  start  and 
stop  movements  or  to  handle  the  class  generally.  He  should  know 
how  to  describe  and  demonstrate  the  exercises  in  a  lucid,  concise 
way,  with  as  little  loss  of  time  as  is  consistent  witli  clearness  and 


24  GYMNASTIC  TEACHING 

vividness.  The  signals  should  be  suitable,  simple  and  self-ex- 
planatory as  far  as  possible ;  properly  intoned  and  inflected,  carry- 
ing a  strong  suggestion  of  how  the  movement  should  be  done; 
with  sufficient  pause  between  the  preparatory  and  final  parts  to 
insure  perfect  unison  in  the  execution.  When  the  exercises  are 
done  rhythmically,  he  must  be  able  to  keep  the  class  together, 
"head  off"  an  impending  break  of  unison,  guide  and  modify  the 
rhythm  in  a  way  to  elicit  snap,  speed,  accuracy  and  steadiness  of 
movement  and  keep  it  from  becoming  mechanical,  oscillatory, 
slovenly  or  listless.  He  must  at  all  times  be  ready  and  willing 
to  exert  himself  to  the  utmost  and  be  able  to  keep  a  clear  head 
while  trying  to  do  several  things  at  the  same  time :  stimulating, 
admonishing,  warning  and  correcting  in  a  general  way,  Constantly 
moving  about  between  the  lines  or  in  front  of  different  portions 
of  the  class,  observing  everything  in  a  systematic  way,  helping 
by  example,  word  or  touch  first  one  individual  or  group,  then 
another ;  all  the  while  keeping  his  eye  and  ear  on  the  class  as  a 
whole,  marking  the  time,  steadying  the  rhythm  and  from  time  to 
time  vigorously  participating  in  the  movement  in  order  to  stimu- 
late, through  suggestion  and  example,  to  greater  effort  and  atten- 
tion to  details  in  its  execution. 

Special  ivays  of  stimulating  a  class.  Dullness  and  poor  re- 
sponse, restlessness  and  inattention,  are  usually  traceable  to  the 
non-observance  by  the  teacher  of  pedagogical  principles  and 
technical  details  of  teaching,  or  else  to  some  shortcoming  or  peculi- 
arity in  his  physical  make-up  or  manner.  But  these  things  may 
occasionally  be  due  to  entirely  extraneous  causes,  such  as  cold, 
or  humid,  sultry  weather,  "spring  fever,"  insufficient  light,  the 
effects  of  a  vacation  just  ended  or  impending,  excitement  about 
something  that  has  happened  or  is  going  to  happen  outside  of  the 
class,  and  having  nothing  whatever  to  do  with  the  class,  the 
teacher  or  the  work.  At  such  times  the  teacher  is  often  at  a  loss 
what  to  do  to  get  in  touch  with  the  class,  how  to  secure  its  atten- 
tion, create  the  right  mental  attitude  and  elicit  the  snap  and  vigor 
he  usually  obtains.  Unless  he  sizes  up  the  situation  correctly,  he 
is  apt  to  lose  patience  or  presence  of  mind,  become  irritated,  an- 
noyed, do  the  wrong  thing  and  thus  make  matters  worse. 

Under  such  circumstances  various  expedients  to  stimulate  in- 
terest may  be  tried.  The  class  may  perhaps  be  rallied  by  greater 
effort  than  usual  on  the  part  of  the  teacher  to  infuse  animation 
into  the  work  through  his  own  manner,  voice  and  movements — 
by  liberating  some  of  his  reserve  energy  and  taking  active  part 
in  the  exercises. 

Or  the  attention  may  be  focused  by  drilling  the  class  in  stop- 
ping rhythmic  movements  in  any  intermediate  position  without 


DISCIPLINE  AND  ATTENTION  25 

much  or  any  warning  and  time  allowance,  providing  such  demand 
is  not  unreasonable. 

Similar  effect  may  be  obtained  by  some  lively  marching  (in 
open  order)  involving  rapid  changes  of  direction,  but  not  requir- 
ing any  lengthy  explanations  or  teaching  of  new  elements.  Such 
work,  if  not  carried  to  the  point  of  confusion,  may  serve  to  put 
the  pupils  on  their  mettle  by  making  those  who  are  inattentive 
conspicuous  and  perhaps  a  little  ludicrous. 

The  spirit  of  emulation  and  rivalry  may  also  be  stimulated  by 
judicious  comparisons  with  the  work  of  other  classes  in  the  in- 
stitution. Such  comparisons,  however,  must  be  expressed  in  a 
tactful  way,  whether  humorously  or  seriously.  In  the  latter  case 
they  may  even  be  carried  to  the  point  of  actual  competition. 

Another  expedient,  which  may  prove  effective,  is  to  start  the 
lesson  in  a  way  strikingly  different  from  the  customary  order: 
for  example,  a  short  run,  or  marching  and  running  with  various 
kinds  of  steps,  or  combined  with  arm  and  body  movements.  This 
works  well  on  a  cold  day.  Or  let  the  class  do  some  lively  pass- 
ing of  the  medicine  ball,  using  as  many  balls  as  possible  and 
rather  short  distances. 

At  times  it  may  be  advisable  to  change  the  character  of  the 
lesson,  to  give  lively,  less  definite  exercises  that  can  be  done  with- 
out too  much  attention  to  detail,  but  with  considerable  vim  and 
continuity.  Mimetic  exercises  of  a  not  too  complicated  charac- 
ter, or  familiar  to  the  class,  are  often  suitable  at  such  times.  In 
the  case  of  young  children,  such  exercises  may  represent  various 
natural  activities  of  man  or  characteristic  movements  of  animals. 
For  older  children,  and  especially  for  boys,  movements  occurring 
in  or  representing  striking  features  of  games  and  sports  are  suit- 
able. In  all  such  mimetic  exercises  the  interest  is  secured  or  re- 
enforced  by  enlisting  the  pupils'  imagination. 

With  classes  of  young  children  a  teacher  may  occasionally 
arouse  lively  interest  and  give  much  innocent  pleasure  to  the 
children  by  letting  them  take  turns  .in  giving  exercises  to  the 
class.  This  is,  of  course,  really  a  modification  of  the  game  "Fol- 
low the  leader,"  but  the  children  probably  do  not  think  of  it  in 
that  way. 

In  any  class  whatever,  the  substitution  of  a  game  for  a  part 
or  the  whole  of  a  lesson  that  threatens  to  be  a  failure  is  almost 
invariably  satisfactory.  But  it  must  be  a  game  that  is  familiar 
or  easily  organized,  and  in  which  every  one  has  a  chance,  or 
rather  is  compelled,  to  be  active,  both  mentally  and  physically. 
In  such  a  game  the  teacher  should,  if  possible,  take  part  with 
genuine  animation  and  enthusiasm. 

Finally,  if  none  of  these  or  similar  expedients  are  feasible  for 
anv  reason,  or  if  some  of  those  first  mentioned  are  ineffective, 


26  GYMNASTIC  TEACHING 

the  only  alternative  is  to  accept  the  situation  as  cheerfully  and 
patiently  as  possible.  Let  the  class  know  that  you  are  aware  of 
the  probable  cause,  and  treat  the  situation  good-naturedly  or  hu- 
morously, as  the  case  may  be,  taking  the  attitude  that  after  all  it 
is  only  a  temporary  condition  and  will  be  made  up  for  next  time. 


4.     ENERGETIC  LEADERSHIP  AND  FRIENDLY  RELATIONS. 

The  influence  of  suggestion  and  example.  The  teacher's  men- 
tal state  and  physical  condition,  as  shown  in  his  manner  and  ap- 
pearance before  the  class,  greatly  influence  the  quality  of  the  work, 
the  atmosphere  and  tone,  and  therefore  the  degree  of  success  of 
the  lesson.  The  class  quickly  senses  and  accurately  reflects  any 
temporary  or  habitual  condition  of  low  vitality,  any  sign  of  de- 
pression or  over  fatigue  on  the  part  of  the  teacher.  Both  the 
teacher  and  class  have  "off  days"  and  not  infrequently  these  co- 
incide, sometimes  when  least  expected.  Occasionally  the  cause 
of  such  coincidence  may  be  perfectly  obvious,  such  as  atmospheric 
conditions,  external  disturbance,  etc. ;  but  more  often  it  can  be 
explained  only  by  attributing  it  to  the  unconscious  reaction  of  the 
teacher  on  the  class  and  vice  versa.  The  potency  of  suggestion, 
for  good  or  ill,  is  always  to  be  reckoned  with  and  should  be  con- 
stantly borne  in  mind.  It  is  largely  through  the  suggestive  power 
of  example  that  the  right  spirit  of  the  work  is  created  and  sus- 
tained. 

Appearing  before  the  class  irritated,  nervous  and  disturbed,  or 
dull,  absent-minded  and  careless,  will  invariably  lead  to  unsteadi- 
ness, inattention,  slackness  or  listlessness  on  the  part  of  the  class, 
and  so  will  weaken  the  teacher's  control.  On  the  other  hand,  a 
brisk,  energetic,  business-like  manner  acts  like  a  stimulus  and 
tends  to  produce  a  like  mental  state  in  the  pupils. 

Vigorous  participation  by  the  teacher  in  the  exercises  has  a 
similar  effect.  It  is  always  helpful  in  suggesting  the  proper  speed 
of  a  movement,  steadiness  in  retaining  each  intermediate  position, 
sureness  in  the  rhythm.  It  may  sometimes  succeed  in  rousing-  a 
class  to  spirited  action  when  other  means  of  stimulation  have 
proved  unavailing.  Indeed,  it  is  one  of  the  most  common  expedi- 
ents and  the  chief  resource  of  many  teachers  in  their  endeavor  to 
put  life  and  enthusiasm  into  a  lesson. 

Like  all  good  things,  however,  this  participation  in  the  work 
may  be  overdone.  If  indulged  in  too  freely  (and  to  teachers  with 
abundant  vitality  the  temptation  to  do  so  is  often  strong),  it  tends 
to  lose  its  effectiveness  for  the  purpose  of  stimulation  as  the  class 
becomes  accustomed  to  it.  Also,  it  is  liable  to  limit  the  teacher's 
chances  and  defeat  his  efforts  to  obtain  a  good  quality  of  work 


LEADERSHIP  AND  FRIENDLY  RELATIONS  27 

in  other  respects  than  those  of  continuity,  swing  and  go.  For  if 
the  teacher  remains  most  of  the  time  in  one  place,  strenuously 
going  through  all  the  exercises  with  the  class  while  counting  to 
keep  time,  he  does  so  at  the  expense  and  to  the  neglect  of  other 
important  phases  and  duties  of  teaching.  He  is  bound  to  fall 
short  in  systematic  and  critical  observation  of  the  work  of  all  the 
pupils,  in  careful  attention  to  details  of  execution,  in  individual 
stimulation  and  assistance.  In  the  nature  of  things  he  has  neither 
breath  nor  opportunity  for  anything  more  than  very  brief,  gen- 
eral admonitions  and  a  "whoop-it-up"  kind  of  stimulation.  This 
sometimes  takes  the  form  of  an  extravagant  speeding  up  of  the 
rhythm  coupled  with  numerous  repetitions  of  the  same  move- 
ment, and  may  be  carried  to  such  an  extreme  that  all  semblance 
to  definiteness  and  even  unison  in  execution  is  lost.  At  such  times 
it  is  not  unusual  to  see  one  after  another  of  the  members  of  the 
class  discontinuing  the  exercise  from  sheer  breathlessness  and  lo- 
cal fatigue,  until  only  the  teacher  and  a  small  portion  of  the  class 
are  working.  Only  rarely  is  such  a  procedure  justifiable,  and  in 
the  long  run  it  will  militate  against  the  best  interests  of  the  work 
as  well  as  the  teacher. 

One  other  objection  may  be  urged  against  habitual  or  exces- 
sive execution  of  the  exercises  by  the  teacher.  If  the  class  is 
constantly  carried  along  by  the  teacher  in  this  way  the  work  be- 
comes too  nearly  imitative,  amounting  often  to  nothing  more  than 
reflex  action.  The  pupils  are  given  less  opportunity  to  think  and 
act  for  themselves,  to  execute  voluntary  movements  in  the  true 
sense.  They  come  to  depend  too  much  on  the  teacher's  move- 
ments and  too  little  on  their  own  initiative.  They  are  given  an 
apparent  short-cut  to  their  solving  of  motor  problems  and  even 
then,  as  likely  as  not,  they  fail  to  get  the  correct  solution. 

In  view  of  the  drawbacks  inherent  in  this  style  of  teaching, 
and  sometimes  on  other,  less  valid  grounds  (such  as  inability  to 
do  the  movements  well,  disinclination  to  vigorous  bodily  exer- 
tion, failure  to  dress  appropriately,  etc.),  many  teachers  refrain 
entirely  from  participation  in  the  exercises.  In  so  doing  they 
deprive  themselves  and  the  class  of  a  valuable  help  in  teaching 
and  a  legitimate  means  of  stimulation.  It  is  unquestionably  an 
advantage  to  a  teacher  to  be  able  and  prepared  at  any  time,  and 
especially  in  the  beginning  of  a  lesson  or  the  starting  of  rhythmic 
exercises,  to  throw  himself  into  the  movement  with  abounding 
energy,  executing  it  with  more  power  and  "finish"  than  any  mem- 
ber of  the  class.  But  the  wise  teacher  will  not  do  it  too  much 
and,  above  all,  not  in  a  routine  way. 

Good  results  may  also  be  obtained  by  applying  this  principle 
in  a  slightly  different  way.  Put  the  suggestion  of  snap  and  effort 
into  the  voice,  when  giving  the  signals  or  while  guiding  the  rhythm, 


28  GYMNASTIC  TEACHING 

and  also  by  bodily  attitude,  gesture  and  even  facial  expression 
(unconscious  of  course),  when  making  general  admonitions  and 
correction.  By  thus  working  with  and  for  the  class  with  mind 
and  body,  by  word,  cues  and  other  forms  of  suggestion,  if  not  by 
detailed  execution  of  all  the  movements,  the  teacher  can  not  only 
elicit  the  most  vigorous  action  from  the  class,  but  also  arouse  the 
spirit  of  emulation,  and  establish  the  sympathetic  relations  with- 
out which  cheerful  cooperation  cannot  be  expected.  The  cold, 
formal  way  of  teaching,  merely  giving  commands  interspersed 
with  routine,  stereotyped  instruction,  sharp  peremptory  correc- 
tions or  warnings  and  trite,  timewrorn  admonitions,  will  soon 
deaden  interest  and  enjoyment  in  the  work  and  make  it  lifeless 
and  perfunctory.  It  puts  the  teacher  in  the  role  of  a  taskmaster, 
and  is  incompatible  with  the  true  spirit  of  the  work. 

Personal  relations  between  teacher  and  class.  Most  teachers 
probably  aspire  to  be  popular  with  their  pupils.  Such  a  desire 
is  commendable,  providing  the  popularity  is  of  the  right  kind. 
It  should  be  based  on  respect  and  affection  for  the  teacher's  per- 
sonality combined  with  a  serious  and  intelligent  appreciation  of 
his  professional  attainments,  namely,  the  effectiveness  of  his 
work  and  his  skill  in  teaching  it  in  such  a  way  as  to  make  it  in- 
teresting. A  teacher  may  sometimes  be  popular  by  virtue  of 
some  natural  advantage  of  appearance,  charm  of  manner,  social 
qualities  or  commanding  presence.  But  unless  he  can  make  such 
personal  attributes  count  in  his  teaching,  can  offer  his  pupils  the 
kind  of  work  adapted  to  their  needs  and  abilities,  can  present 
such  work  and  get  it  done  in  a  way  to  serve  the  best  interests 
of  all  the  pupils,  his  popularity  is  of  a  shallow  kind.  It  is  apt 
to  wane  in  the  long  run,  or  to  be  confined  to  a  limited  number. 
Almost  any  teacher  with  an  attractive  personality,  or  with  a  pre- 
dilection for  and  skill  in  some  particular  phase  of  the  work,  can 
get  a  personal  popularity  or  following  of  this  limited  kind,  and 
for  a  time  achieve  a  certain  kind  of  success.  But  it  is  not  the 
genuine  kind  unless  the  results  of  the  work  are  what  they  ought 
to  be. 

Whatever  the  natural  advantages  of  a  teacher  may  be,  if  he 
have  force  of  character  and  the  spirit  of  teaching,  combined  with 
a  thorough  knowledge  of  the  subject,  he  may  command  the 
esteem,  respect  and  in  due  time  even  the  affection  of  his  pupils 
through  their  appreciation  of  his  work,  by  the  justice  or  "square- 
ness" of  his  dealing  with  them,  and  by  the  genuine,  sympathetic 
interest  he  takes  in  their  welfare.  Nor  need  he  fear  that  a  firm 
insistence  on  order  and  discipline,  attention  and  vigorous  effort 
will  detract  from  his  popularity.  Quite  the  contrary.  The  more 
he  can  imbue  them  with  a  sense  of  the  value  and  beauty  of  a 
strict,  business-like  atmosphere  in  the  classroom;  the  stronger 


LEADERSHIP  AND  FRIENDLY  RELATIONS  29 

his  will  power — in  the  sense  of  proceeding  undeviatingly  to  a 
desired  end  and  bringing  the  pupils  along  with  him,  demanding 
their  best  and  accepting  nothing  less — the  more  they  will  respect 
and  appreciate  'him  and  the  work.  But  this  will  power  must 
be  of  the  lasting  kind.  It  must  be  guided  and  tempered  by  rea- 
sonableness, patience  and  sympathy.  A  part  of  the  teacher's 
business  is  to  know  how  much  he  can  expect  from  a  class,  both 
in  the  way  of  work  and  behavior.  He  must  bear,  patiently  with 
the  shortcomings,  understand  and  gauge  the  ability,  the  effort 
and  the  possibilities  of  the  class  and  its  individual  members.  To 
combine  encouragement  with  stimulation  and  prodding ;  to  con- 
done while  administering  rebuke,  to  correct  and  admonish  in  a 
spirit  of  helpfulness — in  short,  to  work  and  deal  with  his  pupils 
in  a  sympathetic,  friendly  way,  to  the  best  of  his  knowledge  and 
ability,  is  the  surest  way  to  control  a  class  and  at  the  same  time 
to  secure  and  retain  its  good  will. 

A  due  respect  for  the  sense  of  justice  and  the  feelings  of  the 
class  and  of  its  individual  members  is  essential  to  friendly  rela- 
tions and  the  right  spirit  of  cooperation.  Do  not  annoy  or  harass 
a  class  by  scolding  and  nagging.  Refrain  from  excessive  repe- 
tition of  certain  movements  in  order  to  eliminate  non-essential 
imperfections,  or  in  order  to  correct  and  rebuke  a  few  individuals. 
A  little  of  this  kind  of  stimulation  may  be  effective  at  times,  if 
accompanied  by  explicit  statement  of  reasons  for  such  repetition, 
but  it  is  easily  overdone. 

Cultivate  the  habit  of  maintaining  a  friendly  attitude  toward 
the  class  even  when  obliged  to  censure  severely  some  individuals. 
Guard  against  the  temptation  to  reproach  the  class  as  a  whole  for 
slackness,  misbehavior,  tardiness,  etc.,  on  the  part  of  a  few  of  its 
members.  Such  a  course  is  manifestly  unjust  and  is  always  re- 
sented. If  habitual  it  lowers  the  respect  of  the  pupils  for  the 
teacher  and  leads  to  indifference,  antagonism  and  ill  will.  The 
same  is  true  of  sarcasm,  peremptory  admonitions,  imperious  or 
outright  "bossy"  manner — anything  which  humiliates  or  wounds 
the  self-respect  of  the  pupils,  individually  or  collectively.  Avoid 
the  use  of  the  personal  pronoun  in  giving  directions.  "I  want 
you  to  do  thus  and  so"  carries  too  strong  a  suggestion  of  purely 
personal  masterfulness  akin  to  arrogance.  It  implies  that  the 
class  is  working  for  the  teacher  instead  of  for  itself. 

The  matter  of  commendation  is  of  considerable  importance. 
Be  prompt  to  acknowledge  good  work,  especially  when  the  class, 
after  some  slackness  or  ragged  performance,  has  made  obvious 
efforts  to  pull  itself  together  in  response  to  the  teacher's  stimu- 
lation, censure  or  quiet  demand  for  better  work.  Extravagant 
praise  and  even  routine  approbation  of  ordinary  performance  is 
of  course  weakening,  both  to  the  teacher  and  class.  It  indicates 


30  GYMNASTIC  TEACHING 

superlativeness,  or  too  low  standards  of  quality  on  his  part,  while 
it  conduces  to  mediocrity  and  easy  complacence  on  the  part  of 
the  class.  But  considering  that  good  teaching  necessarily  in- 
volves frequent  admonitions  and  criticism,  unsatisfactory  trials 
and  repetitions,  it  is  wise  to  offset  this  negative  element  to  some 
extent  hy  a  reasonable  modicum  of  praise,  when  the  work  is 
such  as  to  justify  it.  Approbation  of  this  kind,  rendered  as  the 
just  due  to  honest  effort,  gives  more  point  to  the  constant  ad- 
monitions, the  necessary  insistence  on  close  attention  to  detail, 
which  otherwise  would  easily  degenerate  into  tedious  nagging. 

Furthermore,  such  simple  expressions  of  approval  as  "Good !" 
or  "That's  better!"  or  "You  are  doing  well,  keep  it  up!"  or  some 
humorous  comment  of  laudatory  character,  if  made  with  the 
ring  of  sincerity  and  genuine  satisfaction  in  the  voice,  have  a 
marked  stimulating  effect.  The  pupils  are  gratified  and  spurred 
to  greater  willingness  and  intelligent  effort.  Their  eyes  and 
facial  expressions  show  this,  as  well  as  the  increased  snap,  vigor 
and  unison  of  their  movements.  Finally,  when  a  whole  lesson 
has  been  unusually  satisfactory  from  the  teacher's  standpoint,  it 
is  well  for  him  to  say  so,  before  dismissing  the  class,  in  as  sim- 
ple and  gracious  terms  as  he  can  muster. 

Prompt  admission  of  being  at  fault,  when  such  is  the  case, 
effectively  heads  off  trouble  and  is  conducive  to  good  relations. 
Whenever  the  teacher  is  guilty  of  an  error  of  judgment  or  makes 
a  slip  in  his  teaching,  the  mistake  must  be  corrected  and  any 
unfavorable  impression  effaced  as  soon  as  possible.  If  the  error 
is  of  a  technical  character,  a  prompt  acknowledgment  with  due 
appreciation  of  the  humorous  aspects  of  the  situation  will 
strengthen  rather  than  weaken  the  teacher's  power,  providing 
such  occurrences  are  not  too  frequent.  If  the  mistake  involves 
the  personal  relations  between  teacher  and  class  (or  some  indi- 
vidual), an  open-minded  willingness  to  see  all  sides  of  the  case, 
a  frank,  dignified  admission  and  regret  if  in  the  wrong,  tire 
usually  sufficient  to  allay  resentment  or  any  tendency  to  antago- 
nism. 

The  teacher  can  do  much  toward  establishing  cordial  relations 
between  himself  and  the  class  by  taking  and  showing  interest  in 
its  members  outside  of  actual  class  work.  The  way  he  greets 
them  and  chats  with  them  on  informal  occasions  or  chance  meet- 
ings has  much  to  do  with  their  feelings  toward  him.  So  does 
real  community  of  interests,  as  in  their  games  and  athletics,  their 
social  affairs  or  their  hobbies.  It  makes  for  better  acquaintance 
and  good  fellowship.  Understanding  of  and  sympathetic  interest 
in  their  school  work,  their  ambitions  and  particularly  their  health 
and  physical  condition,  are  conducive  to  confidence.  l>e  ready 
to  give  help,  advice  and  encouragement  whenever  needed,  yet 


LEADERSHIP  AND  FRIENDLY  RELATIONS  31 

without  being  officious.  All  these  things  are  natural  and  legiti- 
mate channels  for  the  expression  of  good  will  and  comradeship, 
points  of  contact  through  which  the  teacher  can  get  into  personal 
touch  with  his  pupils  in  a  dignified  yet  democratic  way. 

Where  physical  examinations  are  a  part  of  the  work  the 
teacher  has  many  opportunities  for  friendly  service  other  than 
purely  professional.  Here  he  can  not  only  help  the  pupils  to  a 
hetter  understanding  of  their  physical  needs  and  point  out  the 
right  line  of  action,  but  may  often  be  the  means  of  clearing  their 
minds  of  misconceptions,  of  influencing  their  points  of  view.  He 
may  be  able  to  plant  seeds  of  suggestion  or  to  give  advice  which 
may  lead  to  better  standards  and  higher  ideals  of  life  and  work. 
The  real  service  a  teacher  can  render  in  this  way — hygienically, 
morally  and  socially — is  as  much  a  part  of  his  function  as  the 
formal  teaching.  Indeed,  when  the  relations  between  teacher 
and  pupils  have  come  to  be  of  mutually  friendly  and  confiden- 
tial nature,  the  teacher  can  often  do  more  good  in  an  informal 
way  than  in  the  actual  teaching.  At  any  rate,  he  can  follow  up 
his  formal  teaching  and  try  to  induce  the  pupils  to  supplement 
the  class  work  by  making  efforts  to  apply  what  they  have  learned 
to  their  daily  habits. 

It  pays  to  be  approachable,  to  spend  time  and  patient  effort  in 
friendly  discussion  with  pupils  outside  of  class,  giving  reasons 
for  doing  some  things  in  a  certain  way,  for  omitting  or  post- 
poning other  things;  in  explaining  the  mechanism  and  effects  of 
exercises  in  a  way  which  they  can  readily  understand ;  in  con- 
trasting the  values  of  different  forms  of  exercise.  Sometimes  it 
may  be  advisable  to  prove,  as  far  as  feasible,  the  reasonableness, 
justice  or  necessity  of  requiring  a  pupil  to  do  something  which 
may  be  inconvenient  or  onerous  to  him  at  the  time.  It  is  good 
policy,  generally,  to  satisfy  the  pupils'  minds  and  take  them  into 
your  confidence  as  far  as  your  time  allows  and  your  judgment 
and  sympathy  dictate. 


III.     METHODS  AND  TECHNIQUE. 

The  several  factors  of  successful  teaching — personality,  un- 
derstanding of  pedagogic  principles,  knowledge  and  proper  man- 
agement of  gymnastic  material,  the  special  technique  of  teach- 
ing—are all  so  intimately  related  that  in  practice  it  would 
be  difficult  to  dissociate  them.  Yet,  we  may  recognize  distinc- 
tions in  these  respects.  Some  teachers  may  get  results  in  certain 
directions  chiefly  hy  virtue  of  their  personality,  while  they  fall 
short  in  other  directions  owing  to  deficient  knowledge  of  prin- 
ciples, or  insufficient  skill  in  the  technique  of  teaching,  or  both. 
The  reverse  may  also  be  true  to  some  extent.  At  any  rate,  for 
purposes  of  analysis  and  discussion,  certain  phases  of  teaching 
may  be  grouped  under  the  head  of  technique.  Such,  for  example, 
are  methods  of  formation  and  distribution  of  the  class  on  the 
floor;  the  uses  of  signals;  of  the  active  and  relaxed  positions; 
methods  of  instruction  and  guidance  of  exercises ;  devices  for 
stimulation  ;  variations  in  the  style  of  work — whether  response 
movements  or  rhythmic ;  the  selection  and  combination  of  move- 
ments according  to  the  style  of  work  and  the  method  of  teaching 
it.  All  these  technical  details  represent,  of  course,  applications 
of  pedagogic  principles,  and  their  effectiveness  is  largely  depend- 
ent on  proper  progression  and  arrangement,  as  well  as  on  the  per- 
sonal qualities  of  the  teacher. 

1.     FORMATION,  DISTRIBUTION  AND  POSITION  OF  CLASS  ON  THE 

FLOOR. 

The  choice  of  formation  and  the  methods  of  opening  order 
will  be  determined,  among  other  things,  by  the  facility  of  teach- 
ing them,  by  the  ease  and  speed  of  their  execution,  by  the  amount 
of  time  and  room  available.  Other  considerations  are  the  spac- 
ing and  distance  suitable  for  the  kind  of  work  to  be  taught,  the 
distribution  most  favorable  for  giving  the  teacher  a  full  view 
of  the  class  and  for  enabling  all  members  of  the  class  to  see  and 
hear  the  teacher.  The  extent  to  which  the  class  can  "see  itself" 
is  also  of  some  consequence  through  its  influence  on  unison  and 
rhythm.  Finally,  the  symmetrical  and  orderly  arrangement  of 
the  class  and  the  manoeuvring  necessary  to  obtain  it  are  not  with- 
out effect  on  its  members.  The  close  attention  required,  as  well  as 
the  suggestion  of  order  and  discipline,  are  conducive  to  the  proper 
spirit  of  the  work. 


POSITION  OF  CLASS  ON  FLOOR  33 

The  following  are  some  of  the  more  common  and  simple  pro- 
cedures : 

1.  Perhaps  the  simplest  and  easiest  way  to  get  a  class  arranged 
in  open  order  is  to  have  the  pupils,  on  the  signal,  take  their 
places  on  spots  painted  on  the  floor  at  proper  distances  (say  at 
intervals  of  five  feet,  in  rows  about  four  feet  apart,  the  spots 
in  each  row  being  placed  half-way  between  those  of  the  next). 
This  obviates  the  necessity  for  any  preliminaries,  such  as  align- 
ment, numberings,  facings  and  marching  steps.    It  may  be  of  ad- 
vantage  under   conditions   where   the   spirit   and   traditions   are 
strongly  against  anything  savoring  of  formality  or  military  dis- 
cipline, or  where  the  necessary  time  for  preliminaries  cannot  be 
spared.     It  is  especially  useful  in  large  classes,  with  irregular  at- 
tendance, where  the  main  purpose  of  the  work  is  hygienic,  and 
the  educational  or  disciplinary  value  of  even  a  few  simple  manoeu- 
vres necessary  to  open  order  would  not  be  appreciated.   In  classes 
where  record  of  attendance  is  kept,  and  each  member  is  assigned 
a  numbered  spot,  the  roll  call  may  be  simplified  by  noting  the 
absences  on  a  plotted  sheet  of  paper  or  on  a  numbered  name  file. 
Spots  may  also  be  used  to  advantage  in  conjunction  with  some 
of  the  more  formal  procedures  of  opening  order,  especially  those 
preceded  by  marching. 

2.  The  next  in  order,  as  regards  simplicity,  or  at  least  facility 
of  execution  with  a  large  class,  is  to  line  up  in  one  rank  near  one 
of  the  long  sides  of  the  gymnasium ;  count  fours  (fives  or  sixes)  ; 
face  right  (or  left),  making  a  long  single  file  facing  one  of  the 
ends  of  the  hall.    Then  give  "Forward,  march!"  "Column  left  (or 
right),  march!"  and  continue  marching  until  the  first  group  of 
four  (five  or  six)  has  turned  the  corner  and  taken  ample  distance. 
On  the  signal  this  group  then  faces  left  (or  right)  and  marches 
forward  with  short  steps  while  the  next  group  turns  the  corner, 
takes  full  distance,  faces,  marches  forward,  and  so  on,  until  the 
whole  class  is  marching  down  the  hall  in  an  open  column  of  fours 
(fives  or  sixes).     If  hand  apparatus  is  to  be  used,  this  can  be 
taken  from  the  racks  while  the  class  marches  once  around  the 
hall  in  a  single  file. 

As  a  slight  variation  on  the  above  method  the  groups  may  re- 
main in  close  order  after  turning  the  corner,  and  the  lateral  dis- 
tance may  be  obtained  by  taking  side  steps  after  the  class  has 
arrived  at  the  proper  place  on  the  floor  and  is  marking  time.  This 
may  be  made  a  rather  pretty  manoeuvre  if  executed  with  precision 
and  good  alignment.  Some  such  signal  as  "Form  column  of  fours  : 
Fours,  by  the  left  flank,  march!"  may  be  used  to  change  the  single 
file  into  a  column  of  fours. 

Other  variations  on  this  method  of  opening  order  readily  sug- 
gest themselves.  When  marching  is  used  regularly  as  a  part  of 


34  GYMNASTIC  TEACHING 

the  lesson,  a  column  of  fours  may  be  formed,  either  from  a  stand-- 
still or  while  marching,  by  giving  "Fours  right  (or  left),  march!" 
or  "Fours  right  (or  left)  obliqife,  march!"  or  by  any  of  the  vari- 
ous manoeuvres  so  well  described  by  Mr.  Schrader  in  his  article 
on  the  "Teaching  of  Tactics."* 

3.  The  next  easiest  way  to  get  a  class  together  and  into  open 
order  is  to  line  it  up  in  a  single  rank,  count  twos,  let  numbers 
One  take  one  or  two  steps  forward  and  numbers  Two  the  same 
number  of   steps  backward.     The  spacing  and   distribution  are 
such  that  most  movements  can  be  executed  without  interference 
of  the  pupils  with  each  other,  if  the  class  is  faced  toward  one 
end.     A  few  exercises,  however,  such  as  the  front  leaning  rest, 
forward  and  reverse  charges,  require  that  the  class  be  faced  to 
the  front. 

This  formation  is  suitable  for  small  classes  (of  twenty  or  less). 
It  is  so  simple  that  a  class  soon  learns  to  make  it  with  speed  and 
precision.  It  gives  the  teacher  a  good  view  of  each  pupil  from 
any  side  of  the  class.  When  the  class  is  faced  toward  one  end, 
the  lines  are  easily  kept  straight,  serving  as  guides  for  the  plane 
and  direction  of  movements.  The  spacing  is  readily  maintained 
or  adjusted.  All  the  pupils  can  see  the  teacher  without  difficulty 
and  the  majority  can  see  a  considerable  portion  of  the  lines. 

4.  Another  simple  and  fairly  easy  method  of  opening  order, 
differing  but  slightly  in  principle  from  the  preceding,  is  to  form 
one  rank,  count  threes    (fours,  or  even  fives,   according  to  the 
size  of  the  class),  then  let  each  individual  take  as  many  (long) 
steps  forward  as  is  indicated  by  his  number,  or  twice  as  many 
(short)  steps  backward.     Or  let  numbers  One  stand  still,  num- 
bers Two  take  one  step  forward,  numbers  Three  two  steps,  etc. 
(or  twice  as  many  backward).     Or,  best  in  case  of  threes,  num- 
bers Two  stand  still,  numbers  One  take  two  steps  forward,  num- 
bers Three  two  steps  backward.    In  such  a  formation  all  exercises 
can  be  clone  with  the  class  facing  to  the  front,  except  perhaps 
club  swinging  and  exercises  with  very  long  bar  bells. 

The  disadvantage  here,  as  in  the  preceding,  is  that  the  class 
is  spread  out  too  much  in  one  direction,  and  space  is  not  used 
economically.  This  may  be  an  important  item  if  the  class  is 
large  and  the  room  scant.  Then,  too,  the  lines  and  spaces  are 
apt  to  be  less  distinct  and  not  very  readily  adjusted.  The  class 
cannot  "sec  itself"  to  the  same  extent  as  in  formations  where  many 
pupils  stand  behind  each  other  in  long,  straight  lines.  The  im- 
portance of  the  last  is,  of  course,  not  very  great,  but  should  be 
considered.  Furthermore,  when  a  different  number  of  steps  are 
taken  by  different  portions  of  the  class,  all  starting  together,  but 

*  'The  Teaching  <>t"  Tu.-ti.-v"     Car!  I,.  Srhrudcr.     Am.  l'li\ 


POSITION  OF  CLASS  ON  FLOOR  35 

finishing  one  after  another,  the  unison  and  rhythm  are  apt  to 
suffer.  There  are  lacking  the  symmetrical  appearance  and  the  full, 
rhythmic  sound  of  uniform  action  which  stimulate  a  class  to 
lively  response.  However,  this  formation  works  fairly  well  with 
semi-informal  classes  in  which  the  membership  is  varying  and  the 
attendance  irregular.  It  also  has  the  advantage  of  making  fac- 
ings unnecessary. 

5.  With  classes  of  children  the  following  may  be  used  to  ad- 
vantage :  After  marching  half-way   around   the   room   in  single 
file,  turn  at  one  end  and  march  down  through  the  center.     At 
the  other  end  alternate  pupils  are  turned  right  and  left,  respec- 
tively, and  march  up  on  opposite  sides  of  the  room.     They  then 
meet  and  march  down  the  center  in  pairs.     Then  alternate  pairs 
are  turned  right  and  left,  meet  again  and   form   fours,   march 
down  the  center  and  open  up  as  described  in  section  two.     This 
manoeuvre  takes  considerable  time,  but  it  makes  numbering  un- 
necessary.    When  the  children  come  into  the  gymnasium  in  a 
double  file  the  whole  procedure  can  be  managed  fairly  quickly, 
only  one  division  and  one  circuit  of  the  room  being  necessary. 

When  classes  are  large  enough  to  make  a  preliminary  forma- 
tion on  two  ranks  desirable,  modifications  of  the  methods  de- 
scribed in  sections  three  and  four  may  be  used,  with  or  without 
preliminary  marching,  as  follows : 

6.  If  the  method  described  in  section  four  is  used,  the  ranks 
are  first  opened  by  three  or  four  steps  forward  or  backward  by 
one  rank,  or  by  each  rank  taking  two  steps  in  opposite  directions. 
Then  numbers  One,  Two  and  Three  open  up  as  described  for  one 
rank.     The  disadvantages  of  this  formation  are  similar  to  those 
already  suggested  as  inherent  in  this  method  with  the  single  rank 
formation. 

7.  With  classes  of  moderate  size — from  twenty  to  sixty — a 
modification  of  the  method  described  in  section  three  is,  on  the 
whole,  the  most  satisfactory.    The  preliminary  formation  consists 
of   two   ranks,  a  little  more  than  arm's  distance  apart.     After 
aligning  and  counting  twos  (in  the  front  rank  only),  the  ranks 
are  opened  by  the  front  rank  taking  two  steps  forward  and  the 
rear  rank  two  steps  backward.     Numbers  One  in  both  ranks  then 
take  one  step  forward,  numbers  Two  take  one  step  backward. 
The   class   is   then    faced   toward   the    short   end   and   the    lines 
straightened.     In  the  beginning,  each  part  of  the  manoeuvre  is 
best  done  on  separate  signal,  even  each  of  the  two  steps  taken  in 
opening  ranks.      Later  the  whole  may  be   clone   on   one   signal 
("Open  order — march!")  including  the  final  facing.    Still  later  the 
facing  may  be  taken  first,  the  lines  are  then  opened  by  each  taking 
two  clean-cut  side  steps  in  opposite  directions, — after  which  num- 
bers One  take  one  step  to  right  (toward  the  side  of  the  front  rank), 


36  GYMNASTIC  TEACHING 

numbers  Two  one  step  to  left  (toward  the  side  of  the  rear  rank). 
In  its  final,  perfected  form  the  whole  manoeuvre  may  be  executed 
on  some  such  signal  as  "Left  (or  right)  open  order,  march!"  To 
attain  speed,  unison  and  "finish"  in  this  method  of  opening  order 
requires  considerable  practice,  as  well  as  good  discipline  and  per- 
fect attention  on  the  part  of  the  class,  and  unlimited  patience  and 
perseverance  on  the  part  of  the  teacher.  But  it  is  worth  the  effort 
in  the  long  run.  To  insure  unison  and  proper  rhythm,  make  the 
pause  between  the  facing  and  the  steps,  as  well  as  between  each 
step,  relatively  long;  insist  that  the  weight  is  not  transferred  to 
the  advancing  foot  until  the  last  moment,  and  that  the  following 
foot  is  lifted  clean  and  clapped  smartly  to  the  other.  Dragging 
the  following  foot  makes  the  whole  movement  slovenly.  With 
classes  of  varying  membership  and  irregular  attendance  this  pro- 
cedure would  probably  not  be  satisfactory. 

With  classes  numbering  more  than  sixty  or  seventy  the  same 
principle  of  opening  order  may  be  used  from  a  preliminary  for- 
mation of  three  ranks.  The  middle  rank  stands  still  while  the 
front  rank  takes  four  steps  forward,  the  rear  rank  four  steps 
backward  (or  each  takes  the  same  number  of  side  steps  in  op- 
posite directions).  Numbers  One  and  Two  then  open  up  by  one 
step  each,  in  opposite  directions.  This  is  not  a  very  satisfactory 
method,  however,  owing  to  the  difficulties  of  getting  the  prelimi- 
nary alignment  and  numbering  done  quickly  and  well. 

A  better  way  in  the  case  of  very  large  classes  is  to  line  up  in 
two  or  more  divisions  at  proper  distances,  each  on  two  ranks,  and 
then  proceed  exactly  as  when  the  class  is  undivided.  The  only 
difference  is  that  the  divisions  stand  on  lines  parallel  with  the 
short  axis  of  the  room.  When  such  divisions  are  necessary,  it  is 
well  to  have  assistants  or  monitors  help  supervise  the  preliminary 
alignment  and  numbering.  With  such  large  classes  a  platform  is 
very  convenient,  if  not  necessary,  for  occasional  use. 

Variation  in  the  formation,  by  facings,  during  class  e.vcrciscs. 

Having  arranged  the  class  in  open  order  on  the  floor,  it  is  not 
always  best  nor  even  practicable  to  keep  it  facing  the  same  way 
throughout  the  lesson.  Thus,  for  example,  if  the  spacing  is  close 
and  alternating,  certain  movements  cannot  be  very  well  executed 
when  the  class  is  facing  to  the  front,  shoulder  to  shoulder  (line 
formation),  such  as  arm  movements  and  leg  raisings  sideways, 
side  lunges  and  side  charges ;  while  such  exercises  as  the  front 
leaning  rest,  movements  from  the  lying  position,  leg  flinging  for- 
ward, and  forward  or  reverse  charges  cannot  be  done  without  risk 
of  interference  when  the  class  faces  one  end,  pupils  standing  one 
behind  the  other  in  long  files  (column  formation). 


POSITION  OF  CLASS  ON  FLOOR  37 

Occasionally  an  oblique  formation  may  be  necessary  for  the 
proper,  unhindered  execution  of  some  of  the  exercises.  This  ap- 
plies especially  when  the  class  is  in  line  formation  (pupils  in  con- 
tiguous lines  standing  abreast  of  each  other),  as  would  be  the  case 
if  the  methods  of  opening  order  described  in  sections  three  and 
seven  have  been  used,  and  when  the  spacing  is  necessarily  inade- 
quate from  lack  of  room.  When  work  is  carried  on  in  school- 
rooms, between  the  desks,  the  oblique  formation  is  often  necessary 
in  order  to  avoid  interference  by  desks  or  neighbors. 

Besides  varying  the  choice  of  the  three  formations — line,  col- 
umn and  oblique — on  grounds  of  convenience  as  regards  the  exe- 
cution of  movements,  the  formation  may  also  be  varied  for  the 
purpose  of  aiding  the  pupils  to  execute  the  movements  correctly. 
This  applies  especially  when  beginning  work  with  an  untrained 
class,  but  it  is  helpful  at  all  times  in  giving  the  pupils  guides  or 
landmarks  by  which  they  may  be  aided  in  finding  the  right  plane 
or  direction  of  movements.  For  example,  in  a  trunk  bending  side- 
ways, the  chances  for  exact  performance,  uncomplicated  by  other 
elements  like  twisting,  forward  or  backward  bending,  are  a  little 
better  when  done  in  a  column  than  in  a  line  formation.  This  en- 
ables the  pupils  to  look  along  their  own  lines  and  usually  also 
along  the  lines  or  boards  on  the  floor.  In  forward  bending  of 
trunk,  forward  foot  placings  and  charges,  a  line  formation  seems 
to  work  better  than  a  column  formation. 

Another  consideration,  and  an  important  one,  by  which  the 
choice  of  formations  should  be  determined,  is  the  degree  to  which 
it  facilitates  systematic  observation  of  the  work  by  the  teacher. 
Each  ensemble  movement  may  be  observed  better  from  one  point 
of  view  than  from  any  other.  With  the  class  faced  in  the  most 
suitable  way  and  the  teacher  standing  at  a  point  or  moving  along 
a  line  giving  the  best  view  of  the  greatest  number,  he  can  "sight" 
along  the  lines  of  pupils  and  easily  see  every  deviation  from  cor- 
rect execution.  For  example,  a  forward  bending  of  trunk,  a  for- 
ward  charge  or  a  toe-support  (reverse)  charge  can  be  best  seen 
from  one  end  of  the  class  when  in  line  formation ;  trunk  twisting 
and  exercises  in  which  the  arms  are  held  in  or  pass  through  any 
of  the  cross  positions  (side-horizontal,  bent  or  straight)  are  best 
observed  from  one  end  of  the  class  when  in  column  formation. 

Finally,  as  has  already  been  suggested,  the  mental  effect  on 
the  pupils  of  seeing  a  large  part  of  the  class  doing  exercises  in 
unison  is  worth  considering,  and  the  choice  of  formation  may  at 
times  be  determined  on  this  ground.  In  this  sense  appearances 
count.  Then,  too,  snap,  unison  and  steady  rhythm  are  most  easily 
obtained  when  the  greatest  number  can  see  the  greatest  number. 
This  is  the  case  in  the  column  formation.  Sometimes  all  these 
considerations  coincide  and  all  are  met  better  by  one  formation 


38  GYMNASTIC  TEACHING 

than  by  any  other.  At  other  times  they  conflict,  in  which  case 
the  most  important  consideration  will  determine  the  choice.  This 
is  usually  a  matter  of  judgment  and  experience. 


'2.     GYMNASTIC  SIGNALS. 

The  so-called  "words  of  command"  are  essentially  signals,  de- 
scriptive or  not,  as  the  case  may  be.  They  are  used  in  class-teach- 
ing primarily  to  insure  unison  and  uniformity  of  movement,  as 
well  as  to  train  alertness  and  quickness  of  response,  not  "to  teach 
obedience."  Their  purpose  and  use  are  in  all  respects  similar  to 
the  familiar  device  for  starting  a  number  of  individuals  in  a  race : 
"On  the  marks!"  "Get  set!"  "Go!"  or  to  the  football  signals  by 
which  the  ball  is  put  into  play.  Or  they  may  be  likened  to  the 
preliminary  raising  of  the  baton  or  arms  and  the  final  arm,  head 
and  body  movements  of  the  leader  which  start  the  playing  of  an 
orchestra.  As  signals  for  starting  and  stopping  movements  the 
use  of  the  "commands"  is  largely  a  technical  matter,  which  any 
one  may  learn  by  practice.  But  aside  from  this,  their  use  con- 
stitutes one  of  the  channels  through  which  the  teacher's  personal- 
ity, as  well  as  his  ideas  and  ideals  about  the  work,  find  expression. 
For  after  their  proper  use,  technically,  has  been  acquired  and  be- 
come automatic,  they  may  yet  be  varied  in  their  suggestive  qual- 
ity, their  intonation,  intensity,  etc.,  so  as  to  have  a  marked  influ- 
ence on  the  class  and  the  quality  of  the  work.  They  may 
stimulate  or  deaden,  quicken  or  slow  down ;  they  may  have  the 
peremptory  tone  of  a  martinet  or  a  taskmaster  (they  are  then,  in- 
deed, "commands,  to  be  obeyed"),  or  the  steadying,  cheering, 
helpful  ring  of  the  trusted  leader  and  friend ;  they  may  be  cum- 
bersome, labored  and  artificial,  or  simple,  easy  and  natural ;  in 
short,  they  may,  and  generally  do,  reflect  the  teacher's  attitude 
toward  the  class,  his  skill  and  his  mental  and  bodily  state  very 
accurately. 

Essential  features  of  gymnastic  signals.  Generally  speaking, 
any  agreed  upon  device  may  serve  the  main  purpose  of  a  signal. 
It  may  be  a  noise  made  in  any  way,  such  as  tapping  the  floor  with 
a  stick,  or  clapping  the  hands ;  or  a  gesture ;  or  a  preliminary 
chord  on  the  piano,  followed  by  a  sharp  movement  of  the  teacher's 
head,  arms  or  whole  body ;  or  a  warning  word,  such  as  "All 
ready !"  and  then  a  more  or  less  exaggerated  movement  by  the 
teacher,  which  becomes  the  first  part  of  the  gymnastic  exercise. 
Such  devices,  and  especially  the  last  two  mentioned,  are  by  no 
means  uncommon.  They  are  often  used  when  the  work  is  en- 
tirely rhythmic,  "oscillatory"  or  approaching  the  dancing  type. 
With  a  little  practice  a  class  may  learn  to  begin  an  exercise  in 


GYMNASTIC  SIGNALS  39 

this  way  with  a  fair  degree  of  unison.  Often,  however,  there  is 
apt  to  be  some  hesitation,  and  many  pupils  do  not  "get  under 
way"  until  the  first  or  second  repetition  of  the  movement.  With 
these  methods  of  starting,  the  movement  is  usually  discontinued, 
with  or  without  any  special  signal,  when  a  certain  number  of 
repetitions  have  been  made,  as  indicated  by  the  count  or  by  the 
music. 

Even  in  such  rhythmic  exercises,  however,  it  will  be  of  advan- 
tage to  start  and  stop  each  movement  by  a  proper  signal.  This 
may  be  of  the  simplest  character,  so  long  as  it  embodies  the  main 
features  of  all  signals,  namely,  a  preliminary,  descriptive  or  warn- 
ing part,  a  pause  and  a  final  part  or  word  of  execution.  The  pre- 
paratory part  states  or  reminds  briefly  what  is  to  be  done,  and 
with  the  following  pause  tends  to  focus  attention  and  give  every 
one  an  opportunity  to  get  ready  for  instant  action.  The  final 
part  is  the  real  signal  to  go  ahead.  On  the  proper  use  and  relation 
of  these  parts — as  regards  distinctness,  intensity,  pitch,  intonation, 
inflection  and  duration — depend,  more  than  on  anything  else,  the 
degree  of  unison,  ^snap  and  precision  of  the  movement.  These 
details  will  be  discussed  later. 

Different  kinds  of  signals.  For  rhythmic  exercises  the  name 
of  the  movement,  if  sufficiently  brief  and  expressive,  may 
serve  as  the  preparatory  part.  When  a  descriptive  term  for  a 
complex,  compound  movement  is  lacking,  or  would  be  too  cum- 
bersome to  use  for  this  purpose,  some  such  warning  as  "Ready," 
or  "All  together,"  or  "To  the  left,"  following  a  description  and 
demonstration  of  the  movement,  answers  the  purpose  very  well. 
Such  a  warning  may  also  be  used  in  conjunction  with  a  descrip- 
tive term  in  order  to  make  sure  of  the  preparedness  of  every  one. 
After  a  sufficient  pause  the  final  part  of  the  signal  is  then  given 
by  the  sharp  enunciation  of  some  such  word  as  "Begin!"  "Start!" 
"Go!"  or  "March!"  Having  made  a  satisfactory  start  and  a 
sufficient  number  of  repetitions,  the  exercise  is  discontinued 
by  some  such  signal  as  "Stop!"  "And  Stop!"  "Hold!"  "Halt!"  or 
"Class  Halt!"  The  choice  will  be  determined  partly  by  taste, 
partly  by  the  style  of  the  work,  or  by  the  character  of  the  partic- 
ular movement.  (See  section  on  the  technique  of  using  signals.) 

When  exercises  are  done  as  single  response  movements, 
whether  simple  or  combined,  followed  by  return  to  the  starting 
position,  or  parts  of  compound  movements,*  the  signals  may  be 
made  in  two  ways. 

].  Imperative  signals.  A  descriptive  signal  with  the  verb  in 
the  imperative  for  each  movement  or  part,  using  the  name  of  the 
movement  as  a  basis.  The  words  of  the  descriptive  term  are 


*For  explanation  of  terms  "simple."  "compound"  and  "alternating,"  see  p.  13f 


40  GYMNASTIC  TEACHING 

slightly  modified  and  their  order  changed.  The  noun  and  adverb 
are  put  first,  serving  as  the  preparatory  part,  while  the  imperative 
verb  is  put  last,  as  the  word  of  execution.  For  example,  the  sig- 
nal for  the  simple  movement  "Forward  bending  of  trunk"  would 
be  "Trunk  forward — bend!"  This  would  necessitate  another  de- 
scriptive signal  for  the  return  to  the  starting  position.  In  the  ex- 
ample given  this  might  be  "Trunk — raise!" 

For  a  combined  movement,  such  as  "Arm  bending  with  alter- 
nate foot  placing  forward,"  the  signal  would  be  "Arms  bend  and 
left  (right)  foot  forward — place!"  The  simplest  signal  for  the 
return  movement,  in  this  case,  would  be  "Position!" 

As  an  example  of  making  the  signals  for  the  parts  of  a  com- 
pound movement  from  its  name,  take  the  movement  "Heel  rais- 
ing and  knee  bending."  Here  the  signals  would  be  "Heels — 
raise!"  "Knees — bend!"  "Knees — stretch!"  "Heels — sink!" 

When  the  starting  position  is  other  than  the  fundamental  posi- 
tion, the  signal  for  the  movement  by  which  this  derived  position 
is  reached  should  always  be  of  this  kind.  For  example,  if  a 
movement  such  as  "Side  bending  of  trunk"  is  to  be  done  re- 
peatedly from  a  starting  position  with  the  hands  behind  the  neck 
and  feet  apart,  the  signal  for  the  latter  would  be  "Hands  on  neck 
and  feet  sideways — place!"  When  the  real  movement  (side  bend- 
ing) has  been  repeated  a  sufficient  number  of  times,  the  return 
to  the  fundamental  position  is  most  easily  accomplished  by  the 
word  "Position !" 

2.  Numeral  signals.  Another  way  is  to  use  the  descriptive 
(or  empirical)  term  serving  as  the  name  of  the  exercise — usually 
consisting  of  a  noun,  the  present  participle  of  a  verb,  and  an  ad- 
verb for  each  element  of  the  movement — as  the  preparatory  sig- 
nal for  the  movement  as  a  whole,  while  the  numerals  are  used 
as  words  of  execution  for  the  respective  parts.  The  return  to  the 
starting  position,  in  reverse  order,  is  implied.  Thus,  in  the  ex- 
amples given  above,  the  signals  would  be  "Forward  bending  of 
trunk — One! — Two!"  and  "Heel  raising  and  knee  bending — One! 
-Tti'o  .'—Three  .'—Four!" 

When  to  use  these  methods,  respectively.  The  first  method 
(imperative)  is  the  only  one  suitable  for  getting  the  class  into 
a  derived  starting  position,  as  explained  above.  For  simple  or 
compound  movements,  in  which  only  one  part  of  the  body  moves 
at  a  time,  either  of  these  methods  may  be  used,  but  the  second 
method  is  generally  preferable.  When  it  is  desired  to  make  repe- 
titions on  signal,  the  second  is  by  far  the  more  suitable,  as  the 
frequent  repetitions  of  descriptive  terms  and  imperatives  are 
superfluous  and  tedious.  In  rare  cases  it  may  be  of  advantage  to 
use  the  descriptive  imperative  signal  the  first  time,  then  for  the 


GYMNASTIC  SIGNALS  41 

repetitions  some  such  word  as  "Repeat,"  or  "Again,"  or  "Once 
more"  as  preparatory  and  the  numerals  as  final  signals. 

In  combined  movements — that  is,  movements  in  which  two  or 
more  parts  of  the  body  move  simultaneously — the  second  method 
is  the  more  suitable,  as  the  first  would  be  too  cumbersome.  Take 
for  example,  such  a  movement  as  "Arm  flinging  sideways  with 
knee  bending."  Using  that  term  as  the  preparatory  and 
"One! — Two!"  as  the  final  words  for  "going"  and  "returning," 
respectively,  is  simpler  and  is  more  readily  spoken  than  such  a 
clumsy  combination  as  "Arm  sideways  fling  and  knees — bend!" 
followed  by  an  even  more  cumbersome  and  therefore  embarrass- 
ing combination  of  descriptive  terms  to  get  the  class  back  to  the 
fundamental  position. 

The  above  applies  with  even  greater  force  to  combined  com- 
pound movements,  especially  when  of  a  fairly  complex  character ; 
such,  for  example,  as  "Arm  bending  with  side  lunge,  then  arm 
stretching  sideways  with  side  bending  of  trunk."  In  such  a  case 
one  way  is  to  demonstrate  the  movement  carefully,  naming  each 
part  while  showing  it,  then  give  "Attention!"  (the  class  having 
been  "at  ease")  "Ready,  left — One! — Two! — Three!— Four!" 
Another  way  is  to  use  the  cue  method  of  presentation  for  each 
part,  thus:  "Arm  bending  with  left  side  lunge  (cue) — One!  Arm 
stretching  sideways  with  side  bending  (cue) — Two!  Return  in 
reverse  order — Three!  Four!"  Again,  in  many  of  these  combined 
and  compound  movements  a  combination  of  the  two  methods  of 
making  the  signals  may  be  advantageous.  For  example,  in  such 
a  movement  as  "Arm  flinging  sideways  and  upward  with  alternate 
foot  placing  forward  and  heel  raising,"  there  is  at  least  a  fair 
choice  between  the  second  method  throughout,  and  the  following 
combination  of  the  two  methods :  "Arm  sideways  fling  and  left 
foot  forward — place!"  "Arm  flinging  upward  with  heel  raising — 
One!  (Return) — Two!"  "Position!"  Then:  "Repeat  to  right  (on 
four  counts) — One! — Two! — Three !— Four!"  Such  a  combina- 
tion of  methods  is  especially  useful  when  the  class  is  familiar  writh 
the  elements  of  a  compound  movement  the  descriptive  term  for 
which  would  be  too  lengthy  to  be  readily  apprehended  or  remem- 
bered. By  using  the  above  combination  of  methods  in  such  move- 
ments, detailed  demonstration  as  well  as  too  lengthy  descriptive 
terms  may  be  avoided,  thus  saving  time  and  insuring  continuity 
of  work  and  attention. 

In  alternating  movements  the  numeral  method  is  preferable. 
For  example,  arm  bend  standing  forward  bending  of  trunk,  alter- 
nating with  arm  stretching  upward  would  be  given  thus :  "Arms 
— bend!  Forward  bending  of  trunk — One! — Two! — Arm  stretch- 
ing upward — Three! — Four!" 

General  factors  in  the  use  of  signals.    The  effectiveness  of  the 


42  GYMNASTIC  TEACHING 

signals  in  eliciting  promptness  and  unison  of  response,  vigor  and 
precision  of  execution  depends  on  many  factors.  Foremost  of 
these  are  the  kind  of  personality  of  which  they  are  an  expression 
and  the  strength  of  the  teacher's  hold  on  the  class.  While  a 
teacher  with  a  strong  personality  may  get  along  tolerably  well  in 
spite  of  faulty  or  clumsy  technique,  a  skillful  use  of  technical  de- 
vices will  strengthen  his  power  and  control,  and  will  make  the 
work  more  effective  as  well  as  more  interesting.  The  simplicity, 
judicious  choice  and  proper  delivery  of  the  signals  contribute 
materially  to  the  smooth  progress,  the  continuity  and  the  life  of 
the  lesson. 

Simplicity  and  correct  language.  Try  as  far  as  possible  to  select 
simple,  self-explanatory  signals.  Avoid  too  technical  terms,  or 
words  and  phrasings  which  are  bizarre  and  out  of  keeping  with 
ordinary,  correct  use  of  language.  Such  terms  attract  too  much 
attention  to  themselves  (or  to  the  teacher),  and  too  little  to  what 
they  stand  for.  They  may  require  considerable  mental  effort  to 
commit  to  memory  and  therefore  need  frequent  explanation. 
This  means  divided  attention  on  the  part  of  the  class,  a  great  deal 
of  unnecessary  talking  on  the  part  of  the  teacher  and  loss  of  time 
for  both. 

Stick  to  agreements.  All  signals,  or  rather  the  meanings  at- 
tached to  them,  are  in  the  nature  of  agreements.  Therefore  it 
behooves  the  teacher  to  stick  to  a  given  usage,  once  agreed  upon. 
If  he  thinks  he  can  improve  on  any  form  previously  used,  or 
deems  a  change  desirable  for  any  reason,  he  should  make  an  ex- 
plicit statement  to  that  effect — make  another  agreement  super- 
seding the  old — and  stick  to  the  new  usage.  Nothing  is  more 
puzzling  or  harassing  to  a  class  than  varied  and  inconsistent  use 
of  terms  by  the  teacher;  and  nothing  could  be  more  unfair  than 
reproaching  a  class  for  failure  to  execute  movements  properly 
when  such  failure  is  obviously  due  to  the  teacher's  bungling  or 
confusion  of  signals. 

Voice  and  enunciation.  Give  the  signals  in  a  distinct  and  clear 
voice,  sufficiently  loud  to  be  easily  heard  by  those  farthest  away 
(if  attentive).  While  excessive  loudness  is  not  advantageous, 
the  main  efforts  of  the  pupils  should  be  spent  in  doing  the  work, 
not  in  trying  to  hear  and  understand  the  teacher.  It  is  well  to 
cultivate  the  power  to  make  people  listen,  rather  than  to  make 
them  hear;  but  that  refers  more  to  securing  their  attention  by 
well-modulated  use  of  the  voice  (as  well  as  other  means),  than 
trying  to  overcome  their  inattention  by  loud  shouting.  Here,  as 
always,  superlativeness  and  excess  indicate  lack  of  adaptation  to 
purpose,  and  are  therefore  weakening.  Let  the  pupils  feel  that 
the  teacher  has  a  good  deal  more  voice  power  than  he  is  using — 
that  he  has  abundant  reserve,  should  occasion  demand  it. 


GYMNASTIC  SIGNALS  43 

Instead  of  depending  exclusively  on  volume  and  intensity  of 
sound  strive  for  more  perfect  enunciation,  for  a  better  "plac- 
ing" of  the  voice,  as  the  voice  teachers  express  it.  This  is  attain- 
able, to  some  degree  at  least,  even  without  special  training,  if  the 
teacher  will  cultivate  the  habit  of  observing  himself  in  a  detached 
way;  then  practice  speaking  the  difficult  or  ineffective  words  and 
sounds  in  a  way  to  make  them  carry  farther. 

Do  not  overlook  any  little  thing  that  may  help  in  attaining 
greater  carrying  power  of  the  .voice.  Be  sure  to  face  the  class 
and  hold  the  head  high  when  giving  the  signals.  Find  the  "focal" 
points  in  the  various  formations,  from  which  every  member  of 
the  class  can  be  most  easily  reached.  With  large  classes,  and  in 
gymnasia  with  poor  acoustic  properties,  all  these  things  are  of 
considerable  importance,  not  only  in  making  signals  and  other 
instructions  effective  and  understood,  but  in  conserving  the  vital- 
ity or  at  least  the  voice  of  the  teacher. 

Signals  following  each  other  too  rapidly.  As  a  rule  do  not  give 
a  signal  before  the  next  preceding  has  been  acted  on  and  the  posi- 
tion held  for  a  moment,  unless  there  are  good  and  sufficient  rea- 
sons for  so  doing.  Such  may  be  the  case,  for  example,  in  march- 
ing. When  desiring  to  make  rapid  and  successive  changes  of 
direction  or  formation,  during  the  march, 'it  is  often  necessary 
to  begin  a  new  signal  while  a  previous  one  is  in  the  process  of 
being  carried  out. 

The  mistake  of  giving  signals  too  rapidly  is  sometimes  made 
in  the  effort  to  stimulate  a  class  to  quick  response  and  "snappy" 
execution.  It  is  then  a  case  of  a  good  thing  carried  to  excess. 
A  rapid  change  of  movement  or  position  does  stimulate  the  atten- 
tion and  tends  to  produce  alacrity  and  speed.  But  if  the  changes 
are  so  rapid  that  many  pupils  cannot  follow,  or  can  only  half  do 
the  movements,  the  net  result  is  confusion  and  slovenly  work.  If 
this  is  allowed  to  pass  it  is  equivalent  to  acceptance  of  poor  re- 
sponse from  the  class  as  a  whole.  The  effectiveness  of  the  sig- 
nals is  weakened  rather  than  strengthened,  and  this  will  react 
unfavorably  on  the  general  quality  of  the  work  as  well  as  on  the 
teacher's  hold  on  the  class.  The  attention  is  not  stimulated.  It 
may  even  be  dispersed,  its  object  varying  so  rapidly  that  a  proper 
focusing  never  has  a  chance  to  occur. 

Recalling  movements  already  under  zvay.  In  complex  rhythmic 
movements  a  recall  may  sometimes  be  necessary  before  the  first 
cycle  of  the  movement  has  been  completed.  This  often  happens 
even  in  comparatively  simple  movements  when  "trying"  a  class 
and  finding  that  the  majority  do  not  understand  what  is  wanted, 
or  are  unable  to  do  the  movement  properly.  Under  such  circum- 
stances it  may  be  wise  to  say  "Stop!"  or  "Position!"  (or  both) 
sharply.  Or  it  may  be  as  well  to  wait  until  the  failure  is  complete, 


44  GYMNASTIC  TEACHING 

in  order  to  impress  the  class,  and  then  say,  informally,  "Stop!  As 
you  were!"  Give  the  class  "At  ease,"  then  make  the  necessary 
explanations  and  start  all  over  again,  perhaps  in  a  different  way 
( such  as  doing  each  part  separately,  or  even  giving  another  move- 
ment). 

A  similar  procedure  might  also  be  tried  when  the  class  fails  to 
execute  the  movement  because  of  inattention  or  mischievousness. 
In  that  case  the  explanations  or  redemonstrations  should  be  re- 
placed by  reprimand  of  the  delinquent  pupils.  Recall  should  also 
be  made  promptly  when  failure  and  confusion  are  due  to  a  faulty 
or  wrong  signal.  This  may  happen  to  any  teacher  occasionally 
and  should  always  be  acknowledged. 

Superfluous  signals.  The  mistake  is  not  infrequently  made  of 
giving  two  words  of  execution  for  one  movement.  This  is  most 
likely  to  occur  when  the  parts  of  a  complex  movement  are  given 
singly,  as  for  example,  "Left — face!  One!  Two!"  (when  it  is 
desired  to  have  the  class  hold  the  position  reached  by  the  first 
part  of  the  facing).  Here,  as  in  many  similar  movements,  the 
signal  for  the  complete  movement  is,  of  course,  sufficient  for, 
and  by  agreement  applies  only  to,  the  first  part.  A  class  can  be 
readily  made  to  understand  that.  It  is  the  fear  that  the  class 
will  not  stop  after  the  first  part  has  been  executed,  or  the  feeling 
that  it  is  illogical  to  say  "Two!"  without  previously  having  said 
"One!"  that  leads  inexperienced  teachers  to  make  this  mistake. 
Sometimes  this  fault  does  not  produce  the  failure  of  unison  in 
the  response  that  might  be  expected.  This  is  because  the  impera- 
tive verb — the  first  signal  of  execution — is  not  preceded  by  a 
pause  and  is  not  pronounced  with  the  sharpness  and  inflection 
which  should  characterize  the  final  word,  while  the  numeral  serv- 
ing as  the  real  signal  is  delivered  with  proper  emphasis  and  in- 
tonation. The  imperative  verb  is  then  not  truly  a  final,  but  rather 
a  part  of  the  preparatory  signal.  This  redeems  the  inconsistency 
to  a  great  extent,  and  the  chief  criticism  in  that  case  is  on  incor- 
rect use  of  language.  The  present  participle  of  the  verb  would 
be  more  logical.  More  often,  however,  there  is  some  suggestion 
of  the  final  signal  when  the  imperative  of  the  verb  is  used,  and 
this  generally  "draws"  a  number  of  the  pupils  while  others  wait 
for  the  "One!"  Unison  and  precision  of  response  are,  of  course, 
out  of  the  question  under  such  circumstances.  When  this  mis- 
take habitually  occurs  in  giving  parts  of  complex  movements 
singly,  the  principal  object — that  of  drilling  the  class  in  quick 
and  accurate  response — is  defeated,  and  the  quality  of  the  work, 
generally,  is  lowered.  While  a  class  may,  after  a  time,  be  trained 
to  ignore  the  first  and  respond  only  to  the  second,  the  habit  of 
giving  double  signals,  cannot  fail  to  increase  the  teacher's  difficul- 
ties and  to  give  at  least  some  of  the  brighter  pupils  a  feeling  that 


TECHNIQUE  IN  THE  USE  OF  SIGNALS  45 

something  is  wrong  with  the  method  of  teaching.  In  any  case 
duplicating  signals  is  to  be  deprecated  on  grounds  of  superfluity 
and  illogical  use  of  language. 


3.     TECHNIQUE  IN  THE  USE  OF  SIGNALS. 

The  preparatory  part,  as  already  stated,  serves  two  purposes. 
One  is  to  express  briefly  and  concisely  what  is  to  be  done.  The 
other  is  to  focus  attention,  to  produce  a  mental  and  bodily  state 
of  readiness  for  instant  action.  Both  of  these  purposes  are  ac- 
complished by  using  the  name  of  the  exercise,  if  not  too  long, 
as  the  preparatory  signal ;  by  speaking  it  in  a  clear,  even  tone  of 
voice,  pitched  relatively  low,  or  with  only  a  slightly  rising  or 
falling  inflection ;  by  taking  the  utmost  pains  to  enunciate  every 
word  distinctly ;  by  using  enough  volume  and  intensity  of  sound 
to  reach  those  farthest  away.  Preferably  the  teacher  should 
face  the  class.  Avoid  speaking  too  rapidly. 

When  the  exercise  is  sufficiently  familiar  to  the  class  to  make 
a  detailed  demonstration  and  explanation  unnecessary,  it  is  well 
to  accompany  the  preparatory  signal  by  a  "cue."  This  consists 
of  a  more  or  less  detailed  execution  of  the  movement  by  the 
teacher  while  naming  it.  It  may  be  a  mere  suggestion  of  the 
main  features  of  the  exercise,  serving  as  a  reminder ;  or  it  may 
be  done  with  full  vigor,  accurate  detail  and  exact  rhythm,  accord- 
ing to  the  requirements  of  the  occasion.  In  this  way  much  time 
may  be  saved  and  the  teacher  may  avoid  too  frequent  breaks  in 
the  continuity  of  the  work  occasioned  by  giving  the  class  "At 
ease"  while  demonstrating  the  exercise. 

On  the  other  hand,  too  lengthy  preparatory  signals  should  be 
avoided.  Whenever  possible,  let  them  be  suggestive  rather  than 
too  descriptive.  While  a  warning  or  stimulating  admonition  at 
times  may  be  of  advantage  as  a  part  of  the  preparatory  signal,  it 
is  not  wise  to  do  this  too  much,  or  too  frequently.  When  used 
habitually  and  in  a  routine  way  this  device  loses  its  force.  Be- 
sides, the  class  feels  that  the  teacher  does  not  have  sufficient  con- 
fidence in  its  ability  and  good  intention. 

An  excessively  lengthy  preparatory  signal  for  compound  (and 
alternating)  movements,  especially  when  very  complex,  may  be 
avoided  in  two  ways:  1.  Either  give  each  part  of  the  compound 
movement  separately  the  first  time,  using  a  combination  of  the 
imperative  and  numeral  methods  as  suggested  in  a  previous  sec- 
tion, followed  by,  "Repeat — One! — Tzvo! — Three! — Four!" 
Then  use  some  such  term  as  "Continue — "  or  "Keep  it  up — "  or 
"In  rhythm — "  as  preparatory  signal  and  "Begin!"  or  "Start!" 
or  "Go!"  as  final  signal  for  further  rhythmic  repetitions.  2.  Or 


46  GYMNASTIC  TEACHING 

give  the  class  ''At  ease,"  demonstrate  the  complete  exercise,  then 
give  "Attention!"  "Ready — One!"  " — Two!"  etc.  In  this  way 
the  pupils  are  not  held  immobile  in  a  state  of  high  tension  too  long 
on  the  one  hand,  and  on  the  other  there  is  less  opportunity  for  a 
slackening  of  the  fundamental  position  with  a  consequent  loss 
of  readiness  and  a  failure  of  prompt  response.  But  a  rational 
progression  will  obviate  the  necessity  for  too  frequent  interrup- 
tions of  this  kind  and  will  enable  the  teacher  to  use  the  first 
method  the  greater  part  of  the  time,  at  most  accompanied  by  a 
"cue."  For  if  the  majority  of  the  exercises  in  the  lesson  consist 
of  new  combinations  of  movements  with  which  the  class  is  famil- 
iar, the  more  deliberate  method  of  demonstration  and  explanation 
with  the  class  in  a  relaxed  position  may  be  reserved  for  new 
types,  or  for  the  more  difficult  combinations  of  known  elements. 

The  pause  between  the  preparatory  and  final  parts  is  perhaps 
the  most  important  single  factor  in  insuring  unison  of  response. 
The  sudden  cessation  of  speaking,  the  following  complete  silence 
and  stillness  have  the  effect  of  all  sharp  contrasts — of  attracting 
and  focusing  attention.  The  pause  makes  possible  and  brings 
about  that  state  of  readiness  and  high  tension  so  necessary  for 
vigorous  and  united  action. 

The  duration  of  the  pause  should  correspond  to  the  time  needed 
by  the  pupils  to  comprehend  what  is  required  of  them  and  enable 
them  to  gather  themselves  together  for  the  proper  effort.  The 
more  complex  and  difficult  the  movement,  or  the  rhythm,  the 
longer  should  be  the  pause.  In  this  short  period  of  stillness  the 
teacher,  by  a  sweeping  glance,  should  try  to  ascertain  if  all  under- 
stand and  are  ready.  Such  a  rapid  survey  of  the  class  during 
the  pause  may  save  the  necessity  of  a  recall  (after  the  movement 
has  begun)  because  of  partial  or  entire  lack  of  unison  and  poor 
execution.  The  teacher  may  discover  inattentive  pupils  and  by 
word  or  gesture  bring  them  to  attention.  Or  the  expression  in 
the  pupils'  faces  may  warn  him  that  they  do  not  feel  sure  of 
themselves,  that  they  do  not  understand  what  they  are  expected 
to  do.  This  usually  means  that  the  presentation  has  been  inade- 
quate and  that  it  is  necessary  to  begin  all  over  again.  The  move- 
ment may  then  be  countermanded,  in  an  informal  way,  before 
the  final  signal  lias  been  given,  and  the  confusion  entailed  by  a 
total  failure  of  execution  may  be  averted. 

To  make  a  proper  pause  between  the  two  parts  of  the  signal, 
although  apparently  such  a  simple  matter,  is  one  of  the  hardest 
things  for  many  young  teachers  to  learn,  or  to  stick  to  after  learn- 
ing. To  acquire  the  habit  it  may  be  helpful,  in  the  beginning,  to 
think  the  word  "pause,"  or  even  to  speak  it  inaudibly,  before  giv- 
ing the  final  signal. 

The   tendency    of   every   class   to   anticipate,    to   make   a   "false 


TECHNIQUE  IN  THE  USE  OF  SIGNALS  47 

start,"  often  induces  the  unwary  teacher  to  shorten  the  pause,  or 
to  neglect  it  altogether,  in  an  unconscious  effort  to  forestall  a  fail- 
ure of  unison.  Hurried  signals,  with  insufficient  pause,  in  turn 
increase  the  tendency  to  anticipation.  This  is  sometimes  an  ex- 
pression of  eagerness  and  alacrity  on  the  part  of  the  pupils.  More 
often,  perhaps,  it  is  due  to  inability  or  disinclination  to  wait  until 
the  proper  signal  has  been  given.  This  requires  control,  power 
of  inhibition  and  considerable  effort  of  mind  and  body.  It  is  the 
line  of  greatest  resistance.  In  any  case  such  anticipation  is  fatal 
to  unison  and  quick  response  from  the  class  as  a  whole.  The  first 
impulse  of  the  teacher  (as  of  a  starter  in  a  race)  is  to  try  to  save 
the  situation  by  getting  ahead  of  those  who  show  signs  of  making 
a  false  start.  But  hurrying  the  signal  by  shortening  the  pause  is 
rarely  effective  in  producing  unison  of  response,  as  many  of  the 
pupils  are  caught  unprepared.  The  next  time  these  pupils  will 
anticipate  and  the  unison  will  be  still  more  impaired. 

This  reaction  of  teacher  and  class  on  each  other  is  particularly 
apt  to  occur  when  response  movements  are  repeated  many  times, 
and  the  intervals  between  the  signals  are  too  uniform  as  well  as 
too  short.  It  not  infrequently  happens  in  such  cases  that  the  class 
begins  doing  an  exercise  as  a  response  movement  and  after  a  few 
repetitions  is  doing  it  rhythmically.  At  first  the  teacher  makes 
desperate  efforts  to  keep  ahead  of  the  class  by  hastening  the 
signals,  but  the  ultimate  "catching  up"  by  the  class  is  inevitable. 

If  the  descriptive  imperative  signal  is  used,  the  only  thing  to 
do  to  prevent  this  "sliding"  into  rhythmic  movement  with  its 
attendant  lack  of  unison  is  to  pause  and  allow  the  class  to  make 
one  false  start ;  then  recall  the  movement  in  an  informal  way  and 
admonish  the  class  to  wait  for  the  word.  After  that  be  more  care- 
ful to  have  a  sufficiently  long  and  varied  pause  between  the  two 
parts. 

If  the  numerals  are  used  as  signals,  the  same  method  may  be 
employed  to  head  off  the  tendency  of  a  response  movement  to  be- 
come rhythmic.  Often,  however,  things  have  gone  too  far  before 
the  teacher  fully  realizes  the  situation.  If  he  then  delays  giving 
the  signal  the  class  will  continue  in  a  scattered  way  for  some  time. 
Reproach  for  not  waiting  for  the  word  is  then  not  only  inconsist- 
ent but  unjust.  Under  such  circumstances  it  would  be  wiser  to 
accept  the  situation,  frankly  allow  the  movement  to  become  con- 
tinuous and  try  to  steady  the  rhythm.  The  numerals  arc  then  no 
longer  signals,  but  simply  aid  in  keeping  the  time  and  serve  as  a 
vehicle  for  stimulation.  They  correspond  to  the  rhythmic  move- 
ments of  the  baton,  arms  and  head  of  the  leader  in  guiding  the 
playing  of  an  orchestra,  and  are  spoken  at  the  end  of  the  move- 
ment, instead  of  preceding  it,  as  is  the  case  when  they  are  used 
as  signals.  To  discontinue  such  a  rhythmic  gymnastic  movement 


48  GYMNASTIC  TEACHING 

a  proper  signal  is  necessary.  The  mere  cessation  of  counting  will 
not  stop  it. 

The  tendency  to  anticipation  by  the  class  is  greatly  increased 
if  the  teacher  is  himself  guilty  of  the  same  offense  while  doing 
the  movement  with  the  class.  In  extreme  cases  of  this  kind  the 
class  is  really  not  doing  the  movement  in  response  to  the  signal, 
but  is  simply  following  the  movements  of  the  teacher  by  direct 
imitation.  There  is  then  usually  very  imperfect  execution  and 
entire  lack  of  unison  until  the  movement  has  gradually  become 
rhythmic.  Such  a  confusion  of  methods  is  to  be  deprecated,  even 
though  a  class  may  become  accustomed  to  it  after  a  while.  It  is 
illogical  and  conducive  to  poor  quality  of  work.  To  avoid  this 
very  common  difficulty  the  teacher  should  make  it  a  rule  never 
to  participate  in  a  response  movement.  (In  a  rhythmic  move- 
ment, on  the  other  hand,  it  is  of  advantage  to  participate  for  the 
first  round  or  two.  Be  sure,  however,  not  to  begin  even  an  in- 
stant ahead  of  the  class.) 

The  duration  of  the  pause  may  be  made  excessively  long.  This 
entails  an  unnecessary  strain  on  the  attention — keeps  the  class  "on 
edge"  too  long  and  makes  the  purely  mental  part  of  the  work  too 
prominent  and  severe.  Like  every  other  good  principle,  this  one 
may  be  unduly  emphasized  to  the  detriment  of  the  work  and  the 
weakening  of  the  teacher.  If  the  pause  is  too  long  the  attention 
is  apt  to  relax  after  a  while.  This  is  sometimes  seen  in  marching. 
When  the  class  is  allowed  to  take  several  steps  before  the  final 
signal  is  given  the  result  is  often  failure  of  execution.  With  a 
well-trained  class  the  pause  in  the  different  types  of  movement 
comes  to  be  of  a  customary  length,  with  always  enough  variation 
and  uncertainty  to  produce  zest  and  alertness,  but  without  annoy- 
ance. 

The  only  signals  in  which  a  pause  may  be  dispensed  with  are 
"Right  dress!"  "Count  twos  (threes,  etc.)  !"  and  "Class  halt!" 
In  the  first  a  pause  would  be  desirable,  but  by  agreement  with 
the  class  may  be  left  out  in  order  to  distinguish  this  signal  from 
"Right — face!"  and  so  save  confusion.  A  pause  is  unnecessary 
in  any  signal  for  counting  off,  as  this  applies  only  to  one  individ- 
ual, and  there  is  then  no  question  of  unison.  In  "Class  halt!"  the 
word  "class"  is  somewhat  drawn  out  during  one  movement  and 
the  "halt!"  may  be  given  on  the  next.  As  it  is  customary  to  do 
two  movements  before  the  class  comes  to  a  standstill,  there  is 
ample  time  to  check  momentum  in  marching  and  recoil  in  such 
movements  as  "alternate  knee  upward  bending"  or  "jumping  on 
toes." 

The  final  /></;•/  is  the  signal  for  the  execution  of  the  movement. 
It  is  usually  and  preferably  onlv  one  syllable.  It  varies  in  quality, 
pitch  and  inflection  of  voice,  in  sharpness  and  intensity  of  sound 


TECHNIQUE  IN  THE  USE  OF  SIGNALS  49 

according  to  the  character  of  the  movement  to  be  done.  Thus  a 
quick  movement  requires  a  short,  sharp,  snappy  word  of  execu- 
tion, usually — though  not  always — pitched  higher  than  the  pfe- 
paratory  signal,  and  with  a  rising  inflection.  It  is  of  a  somewhat 
explosive  character,  the  effect  of  sudden  contraction  of  the  ab- 
dominal muscles.  Often  the  aspirate  sound  of  the  letter  "h"  is 
thus  produced,  as  in  "place"  and  "stretch."  These,  when  short 
and  sharp,  are  pronounced  as  if  they  were  spelled  "pl'hace"  and 
"str'hetch."  A  slow  movement,  on  the  other  hand,  requires  a 
more  drawn-out  final  signal,  usually  pitched  lower  than  the  pre- 
paratory part,  and  with  a  falling  inflection. 

While  it  is  true  that  high  pitch  and  rising  inflection  are  suitable 
for  quick  movements,  and  low  pitch  or  falling  inflection  for  slow 
movements,  it  is  often  necessary  to  depart  from  this  rule  in  order 
to  avoid  too  much  sameness.  Thus,  when  giving  the  parts  of  a 
compound  movement  separately,  it  is  wise  to  vary  the  pitch  or 
inflection  of  successive  signals,  even  though  all  the  parts  of  the 
movement  are  of  equal  speed.  For  example,  in  the  movement 
"Heel  raising  and  knee  bending,"  done  slowly,  the  inflection  of 
the  signals  for  the  parts  might  with  advantage  be  as  follows : 
"Heels — raise!"  (falling),  "Knees — bend!"  (rising),  "Knees — 
stretch!"  (rising)  and  "Heels — sink!"  (falling).  Or  the  first  and 
third  might  be  given  with  rising,  the  second  and  fourth  with  fall- 
ing inflection.  Similarly,  if  the  movements  are  to  be  done  quickly, 
the  successive  final  signals  (in  this  case  the  numerals)  may  be 
varied  in  pitch,  although  collectively  they  are  pitched  higher  than 
the  preparatory  part.  For  example :  "Heel  raising  and  knee 
bending —  '  (falling  inflection),  "One!"  (short  and  sharp,  with 
rising  inflection),  "Two!"  (somewhat  lower  pitch),  "Three!" 
(rising  again),  "Four!"  (falling).  There  are  unlimited  possibili- 
ties for  variation  in  pitch  and  intonation,  and  it  is  very  desirable 
that  this  be  kept  in  mind  whenever  it  is  necessary  to  give  a  series 
of  signals  in  rapid  succession.  Indeed,  proper  inflection  and  con- 
stantly varying  intonation  are  as  much  of  an  asset  in  teaching 
gymnastics  as  is  a  well-modulated  and  varying  tone  of  voice  in 
ordinary  conversation  or  in  public  speaking. 

It  sometimes  happens  that  the  imperative  of  the  verb  used  for 
the  final  signal  is  suitable  only  for  a  quick,  or — more  often — a 
slow  movement.  In  such  cases  another  word  must  be  substituted, 
as  for  example,  "fling"  for  "raise"  in  straight  arm  movements. 
Again,  the  method  of  using  the  name  of  the  movement  for  the 
preparatory  and  the  numerals  for  the  final  signals  is  always  avail- 
able. The  numerals,  up  to  four,  are  as  useful  in  this  respect  as 
in  simplifying  lengthy  or  cumbersome  signals  for  combined  move- 
ments. As  an  example,  take  the  movement  "Arm  bending  with 
heel  raising."  If  the  movement  were  to  be  slow,  it  might  be  possi- 


50  GYMNASTIC  TEACHING 

ble  to  use  the  imperative  verbs,  although  it  would  be  rather 
clumsy.  As  this  combined  movement  is  usually  done  quickly, 
however,  the  imperatives  "bend!"  and  "raise!"  can  hardly  be 
enunciated  in  a  way  to  suggest  speed.  Here  the  other  method 
is  not  only  simpler  but  more  natural  and  infinitely  more  effective. 
Compare  "Arms  bend  and  heels — raise!"  (the  last  word  pro- 
nounced with  short  vowel,  if  that  were  possible,  and  with  rising 
inflection)  ;  then  "Arms  stretch  and  heels — sink!"  on  one  hand, 
with  ''Arm  bending  with  heel  raising — One! — Tzuo!"  on  the 
other. 

\Yhen,  for  any  reason,  it  is  particularly  desirable  to  use  the 
imperative,  but  the  sound  of  the  word  does  not  suggest  the  de- 
sired speed  of  the  movement,  then  it  is  necessary  to  accept  the 
speed  suggested  by  the  word  when  doing  the  movement  the  first 
time.  For  repetitions  the  numerals  may  be  used  as  final  signals 
and  the  speed  of  the  movement  made  whatever  the  teacher  wishes. 
The  movement  "Heel  raising  and  knee  bending"  may  again  serve 
as  an  example. 

The  only  difficulty  in  using  the  numerals  as  final  signals  is  that 
the  tendency  of  the  class  to  anticipate  is  greater  and  more  diffi- 
cult to  check  than  when  the  other  form  of  signal  is  used.  This 
has  already  been  discussed  and  shown  to  be  due  to  an  insufficient 
or  too  uniform  interval  between  the  movements.  If  the  teacher 
is  on  his  guard  against  this  fault,  and  against  the  equally  common 
mistake  of  doing  the  movements  with  (or  rather  slightly  ahead 
of)  'the  class,  there  need  be  no  difficulty  in  the  use  of  the  nu- 
merals. One  other  point  might  be  mentioned  in  this  connection. 
When  making  many  repetitions  of  response  movements  (in  itself 
an  undesirable  thing)  and  using  the  numerals,  it  is  better  not  to 
"count  up,"  but  to  repeat  those  numerals  which  stand  respectively 
for  the  first,  second,  third  and  fourth  parts  of  the  movement.  If 
the  movement  consists  of  more  than  four  parts,  the  correspond- 
ing numerals  must,  of  course,  be  used.  But  for  the  vast  majority 
of  suitable  exercises  the  first  four  numerals  are  all  that  are  neces- 
sary. The  fact  that  they  are  all  of  one  syllable  and  have  vowels 
capable  of  being  pronounced  either  quickly  or  slowly,  with  any 
kind  of  inflection  or  intonation,  make  them  peculiarly  adaptable 
to  any  kind  of  movement.  This  is  not  true  of  all  of  the  numerals 
above  four.  Besides,  counting  up  indefinitely  has  a  stronger 
tendency  to  produce  anticipation  and  to  make  the  movement 
rhythmic  than  any  other  way  of  giving  signals.  Nor  has  it  any 
special  merit  or  advantage,  except  that  it  indicates  the  number  of 
repetitions.  This  is  too  insignificant  a  consideration  to  have  any 
weight  in  the  choice  of  method. 

The  use  of  the  numerals  os  a  device  for  marking  time  should  be 
clearly  distinguished  from  their  use  as  signals.  Simple  as  this 


TECHNIQUE  IN  THE  USE  OF  SIGNALS  51 

distinction  is,  in  practice  confusion  in  the  two  ways  of  using  the 
numerals  is  not  at  all  uncommon.  It  is  partly  responsible  for,  and 
to  a  certain  extent  also  caused  by,  the  illogical  procedure  of  "slid- 
ing," by  gradual  steps,  from  response  movements  to  rhythmic, 
continuous  movement.  The  reverse  is  also  seen  occasionally.  In 
trying  to  start  a  rhythmic  movement  an  inexperienced  teacher 
may  fail  to  do  so  for  two  reasons.  Either  the  signal  "Begin!"  has 
been  spoken  in  an  ineffective  manner  or  not  given  at  all ;  or  the 
numerals,  intended  in  this  case  as  time  markers,  are  pronounced 
too  sharply,  with  too  much  inflection  and  slightly  ahead  of  time. 
This  causes  many  of  the  pupils  to  hesitate  at  the  next  movement, 
to  wait  for  the  next  count,  unconsciously  mistaking  the  counts  for 
signals.  The  unison  is  thus  broken  up,  and  if  the  teacher  stops 
counting  the  class  stops  working.  To  all  intents  and  purposes  the 
class  is  doing  each  single  movement  on  signal,  even  though  it  be 
in  a  ragged  manner ;  while  the  teacher  is  under  the  impression 
that  a  rhythmic  movement  is  in  progress  and  is  puzzled  why  he 
cannot  get  it  under  way.  Here,  as  in  the  opposite  case  (a  class 
going  ahead  of  the  signal  and  "sliding"  into  a  ragged  rhythmic 
movement),  it  is  best  to  stop.  In  this  case  it  would  be  even  more 
unjust  than  in  the  other  to  expostulate  with  the  class.  It  would 
perhaps  be  better  for  the  teacher  to  admit  being  at  fault.  In  any 
case,  it  behooves  him  not  to  make  the  same  mistake  again.  In- 
stead, he  should  try  to  make  the  signal  "Begin!"  sharp  and  ring- 
ing, guard  against  anticipating  it  in  his  own  movement,  make 
his  counts  in  an  even  tone,  in  a  slightly  lower  pitch  and  with  less 
sharpness  than  the  word  "Begin!"  The  count  in  a  rhythmic 
movement  coincides  with  the  end  of  the  movement.  Of  course 
the  teacher  must  know  how  to  carry  a  steady  rhythm.  If  he 
wishes  to  change  this  while  the  movement  is  in  progress,  an  ad- 
monition to  that  effect  is  advisable.  This  is  followed  by  a  gradual 
acceleration  or  retardation,  as  the  case  may  be.  It  is  not  an  easy 
matter  and  depends  for  its  success  on  the  teacher's  skill  in  giving 
the  count  and  doing  his  own  movement  slightly  ahead  or  behind 
the  majority  of  the  class. 

The  custom  of  "counting  up"  indefinitely,  or  at  least  to  sixteen, 
or  to  eight  and  then  backward,  instead  of  using  repeatedly  the 
first  two,  four  or  six  numerals— according  to  the  number  of 
parts  in  the  compound  movement — may  be  a  matter  of  taste. 
At  any  rate  it  is  a  matter  of  differing  opinion.  There  is  this  to 
be  said  against  counting  up  :  It  implies  that  the  teacher  thinks 
it  his  duty  to  count  or  otherwise  mark  the  time  throughout,  and 
that  he  habitually  does  so.  This  may  not  be  the  best  thing  to  do. 
For  one  thing,  the  class  should  as  often  as  possible  be  given  an 
opportunity  to  carry  a  given  rhythm  unaided  by  the  teacher. 
Again,  the  teacher  should  find  other  things  to  do  besides  mark- 


52  GYMNASTIC  TEACHING 

ing  time.  And  if  he  interrupts  his  counting  to  make  admoni- 
tions or  corrections,  it  is  difficult  to  hit  the  proper  count  when 
he  wishes  to  resume  the  counting,  after  an  interval,  in  order  to 
steady  the  rhythm.  If  he  begins  from  the  beginning  each  time, 
or  at  any  count  not  the  correct  one,  there  is  no  point  to  continued 
counting.  Finally,  most  of  the  numerals  above  six  are  not  as 
well  suited  to  convey  stimulation  or  to  influence  the  work  by  va- 
riation in  tone  of  voice  and  enunciation  as  those  below  six.  The 
only  advantage  of  counting  up  lies  in  the  automatic  registering 
of  the  number  of  repetitions.  When  the  customary  method  of 
counting  up  to  sixteen  (or  twenty  or  twenty-four)  is  used,  the 
discontinuance  of  the  movement  is  also  automatic,  for  unless  the 
teacher  substitutes  for  the  last  two  counts  a  call  for  the  repetition 
of  this  dose,  or  a  change  to  another  movement,  the  class  will  stop. 
Often  the  preparation  for  this  will  begin  quite  a  few  counts  be- 
fore the  last,  as  shown  by  less  extensive  and  vigorous  movements, 
and  even  by  the  "premature"  stopping  of  some  individuals. 

To  stop  a  rhythmic,  continuous  movement  by  signal  is  the  only 
sure  and  logical  way,  whatever  the  method  of  marking  time  may 
be.  But  the  kind  of  signal  used  and  the  way  it  is  given  will  vary, 
not  only  with  the  method  of  marking  time,  but  with  the  character 
of  the  particular  movement  and  of  the  work  in  general. 

If  the  class  is  used  to  a  certain  number  of  repetitions  and  these 
are  indicated  by  the  count  or  by  the  music,  a  signal  is,  as  already 
stated,  not  absolutely  necessary.  But  it  would  undoubtedly  be 
better  to  have  the  understanding  with  the  class  that,  unless  a 
signal  to  stop  is  given,  the  class  is  to  continue  doing  the  move- 
ment. To  stop  it  at  the  end  of  the  first  or  any  subsequent  series 
of  repetitions  is  then  a  very  simple  matter.  The  word  "Stop!"  or 
"And  stop!"  spoken  instead  of  the  last  count,  with  only  slightly 
raised  voice,  is  usually  effective.  Many  use  the  term  "Hold!"  or 
"Halt!" 

To  stop  a  continuous  movement  repeated  an  indefinite  number 
of  times  in  quick  rhythm,  marked  only  by  an  occasional  counting 
or  other  device,  requires  a  signal  given  with  a  good  deal  of  power 
and  timed  just  right.  There  are  two  distinct  kinds  of  such 
rhythmic  exercises,  each  requiring  its  own  distinctive  signal. 

1 .  In  such  exercises  as  marching,  running,  alternate  knee  up- 
ward bending,  rhythmic  jumping  and  dancing  steps  no  intermedi- 
ate or  terminal  positions  are  held.  There  is  momentum,  or  re- 
bound, and  the  body  weight  is  continually  being  shifted  from  one 
leg  to  the  other.  This  would  make  it  extremely  difficult,  if  not 
impossible,  to  stop  immediately  after  the  signal  is  given.  For  all 
such  movements  the  signal  "Class  halt!"  is  the  most  suitable.  The 
agreement  is  made  with  the  class  that  two  complete  movements 
are  to  be  executed  (three,  in  running)  after  the  signal  has  been 


TECHNIQUE  IN  THE  USE  OF  SIGNALS  53 

given.  The  teacher  should  insist  upon  having  this  agreement 
strictly  lived  up  to,  and  reserve  "Class  halt!"  exclusively  for  exer- 
cises of  this  type.  If  used  in  other  kinds  of  gymnastic  move- 
ments there  may  be  confusion. 

2.  In  exercises  demanding  at  least  a  momentary  retention  of 
terminal  and  intermediate  positions  it  is  unnecessary  to  give  much 
or  any  warning,  such  as  is  implied  in  "Class  halt!"  The  body 
weight  is  more  evenly  distributed,  the  equilibrium  is  fairly  stable 
and  the  momentum  is  (or  should  be)  checked  at  each  position. 
To  stop  such  a  movement  a  single  word,  spoken  sharply  at  the 
moment  the  position  is  reached,  is  usually  sufficient.  The  word 
"Halt!"  is  not  entirely  satisfactory  because  of  the  possibility  of 
confusion  with  "Class  halt!"  It  is,  however,  effectively  used  by 
many  teachers.  The  word  "Hold!"  is  also  commonly  used  and 
answers  fairly  well.  Like  "Halt!"  it  is  somewhat  inadequate 
because  of  the  long  vowel.  Then,  too,  the  word  "Hold !"  is  very 
useful  in  admonitions  to  the  class  to  emphasize  positions  while 
doing  a  rhythmic  movement.  It  might  very  well  be  reserved  for 
such  purposes.  The  word  "Stop!"  with  its  penetrating  "s"  and 
short  "o"  seems  on  the  whole  the  most  satisfactory.  If  preceded 
by  the  word  "and"  the  latter  may  be  given  on  the  preceding  count, 
but  this  is  not  necessary.  Both  words  may  be  spoken  together  in 
such  a  way  that  the  "Stop!"  coincides  exactly  with  the  arrival 
of  the  class  to  a  given  position,  or  is  spoken  just  an  instant  be- 
fore. The  more  definite  the  type  of  exercise,  and  the  better  the 
class  is  trained  to  hold  positions,  the  later  may  the  signal  be  given. 
Shortening  this  little  interval  of  time,  or  even  eliminating  it  al- 
together and  stopping  the  class  unexpectedly  in  any  position,  may, 
indeed,  be  used  as  a  device  for  stimulating  a  class  to  alertness,  to 
greater  steadiness  and  accuracy  in  maintaining,  momentarily,  all 
intermediate  and  terminal  positions.  The  pupils  rather  like  being 
put  on  their  mettle  in  this  way  from  time  to  time. 

Summary.  To  be  effective  as  technical  devices  in  gymnastic 
teaching,  the  signals  must  be  selected  with  forethought  and  care. 
The  terms  used  must  be  simple,  brief  and  explicit.  They  should 
be  in  harmony  with  ordinary,  correct  usage  of  language,  not 
bizarre  or  slovenly  perversions  of  it.  They  should  be  given  in  a 
clear  voice,  sufficiently  loud  to  be  heard,  but  not  shouted.  The 
preparatory  part  should  always  be  enunciated  as  distinctly  as 
possible,  the  final  part  in  a  manner  that  will  insure  response.  The 
pause  between  the  two  parts  should  always  (with  but  few  excep- 
tions) be  relatively  long,  but  varied  in  successive  signals. 

Variety  in  intonation  of  the  preparatory  part;  in  the  duration 
of  the  pause ;  in  the  sharpness,  pitch,  inflection  and  force  of  the 
final  word — all  these  serve  not  only  to  suggest  the  way  the  move- 
ment should  be  done,  but  also  help  to  relieve  and  prevent  monot- 


64  GYMNASTIC  TEACHING 

ony,  enliven  the  work,  inspire,  stimulate  and  put  life  into  a  class. 
They  help  make  the  work  interesting  as  well  as  effective.  While 
there  is  nothing  so  deadening  and  fatal  to  the  success  of  a  lesson 
as  faulty,  inconsistent,  lengthy  and  too  numerous  signals,  given 
in  a  monotonous  voice,  a  skillful  use  of  these  devices  may  lift  the 
lesson  to  a  period  of  pleasant,  interesting  and  spirited  activity. 


4.     THE  ACTIVK  AND  RELAXED  GYMNASTIC  POSITIONS. 

The  signals  most  frequently  used,  next  to  "Begin!"  and  "Stop!" 
are  probably  "Attention!"  and  "At  case!"  ("Rest"  or  "In  place 
rest!"}.  The  intelligent  use  of  these  signals  is  of  the  utmost  im- 
portance in  securing  and  retaining  the  attention  of  the  class,  in 
eliciting  promptness  and  unison  of  response  to  all  other  signals, 
as  well  as  vigor  and  correctness  of  execution  in  the  exercises.  On 
the  other  hand,  their  misuse  or  lack  of  use  are  conducive  to 
slackened  interest,  poor  fundamental  position  and  incorrect  ex- 
ecution. The  proper  response  to  these  signals,  therefore,  should 
be  worked  for  and  insisted  on,  and  should  be  secured  at  all  haz- 
ards. Perhaps  no  other  single  item  of  the  technique  of  teaching 
is  as  sure  a  test  and  index  of  the  teacher's  hold  on  the  class  or 
of  the  pupils'  attitude  toward  the  work  as  their  response  to  "At- 
tention!" The  promptness  and  vigor  of  the  response  to  this  call 
determines  to  a  considerable  extent  the  spirit  and  quality  of  the 
work  as  a  whole. 


The  active  or  fundamental  gymnastic  position,  or  position  of 

attention. 

This  is  a  position  requiring  conscious  effort.  It  should  be  made 
clear  to  the  class  that  it  means  something  more  than  merely 
standing  in  an  easy,  "natural"  position,  even  though  this  may  be 
fairly  correct  and  acceptable  from  an  esthetic  standpoint ;  that 
it  means  something  more  than  mere  attentiveness,  however  com- 
plete this  may  be.  The  fundamental  gymnastic  position — whether 
assumed  in  response  to  "Attention!"  from  the  relaxed  position,  or 
in  response  to  "Position!"  from  any  other  gymnastic  position,  or 
at  the  end  of  a  rhythmic  movement — involves  hard  work  of  both 
mind  and  body.  It  implies,  of  course,  alertness,  readiness  to  think 
and  to  do,  and  the  nervous  tension  that  this  calls  for.  P.ut,  be- 
sides, it  should  be  so  defined  as  to  demand  hard  muscular  work, 
work  of  a  kind  and  in  directions  largely  neglected  in  ordinary 
activities — static  contraction  of  those  muscular  groups  of  the 
upper  back  and  abdomen  which  are  habitually  relaxed  or  sub- 


ACTIVE  AND  RELAXED  POSITIONS  55 

jected  to  passive  tension.  It  is  on  the  control,  tone  and  endurance 
of  these  muscle  groups  that  good  posture  ultimately  depends. 
The  fundamental  gymnastic  position — standing  as  tall  as  possible, 
with  head  erect,  chin  in,  chest  high,  abdomen  retracted,  lower  back 
as  straight  as  possible,  feet  at  an  angle  of  not  more  than  45° 
(or  parallel  and  slightly  apart  in  the  case  of  children),  arms  hang- 
ing naturally  at  the  sides — should  be  considered  an  exercise  for 
good  posture.  Indeed,  maintaining  a  good  fundamental  position 
while  walking  or  doing  any  other  exercise  is  perhaps  the  most 
effective  way  of  permanently  improving  posture.  Hence  the  im- 
portance of  starting  every  gymnastic  movement  from  a  good 
fundamental  position. 

When  "Attention!"  has  been  given  and  a  prompt,  satisfactory 
response  obtained,  it  is  well  for  both  teacher  and  class  to  hold  the 
fundamental  position  a  moment  before  proceeding  with  the  next 
exercise.  Following  the  less  constrained  bodily  and  mental  attitude 
and  the  buzzing  of  conversation  permitted  in  the  relaxed  position, 
such  a  brief  period  of  rigid  immobility  and  silence  emphasizes  the 
contrast  between  the  relaxed  and  the  active  position ;  it  gives 
opportunity  for  some  "belated"  pupils  to  get  their  attention  fo- 
cused, and  so  helps  to  steady  a  class.  For  similar  reasons  the 
fundamental  position  should  be  held  a  second  or  two  at  the  end 
of  a  gymnastic  movement,  before  the  signal  for  the  next  exercise 
or  for  the  relaxed  position  is  given. 

On  the  other  hand  avoid  holding  a  class  motionless  in  the  posi- 
tion of  attention  longer  than  necessary.  Immobility  of  any  kind 
is  always  difficult  and  irksome.  The  nervous  tension  of  expect- 
ancy, as  well  as  the  static  muscular  work  demanded  in  the  funda- 
mental position,  makes  it  particularly  severe  on  the  pupils  who 
are  willing  and  able  to  hold  a  strong  position  ;  while  those  who  are 
disinclined  to  sustained  mental  and  bodily  exertion,  or  who  lack 
the  requisite  endurance,  training  and  understanding  of  the  work, 
very  soon  begin  to  show  signs  of  diminishing  muscular  effort  and 
dispersed  attention.  In  fact,  it  is  next  to  impossible  to  keep  the 
whole  class  in  the  extreme  position  of  attention  very  long.  Any 
attempt  to  do  so,  whether  intentional  or  not,  will  almost  invaria- 
bly result  in  partial  relaxation,  muscular  or  mental,  or  both,  on 
the  part  of  many  members  of  the  class.  This  either  means  going 
on  and  accepting  a  faulty  position  and  imperfect  attention,  or 
it  necessitates  giving  "Attention!"  once  more.  The  former  leads 
to  poor  work,  the  latter  is  equivalent  to  repeating  a  signal  because 
it  has  been  ineffective  the  first  time.  That  would  be  a  confession 
of  weakness  and  would  tend  to  lessen  the  teacher's  control.  Both 
procedures  are  pedagogically  undesirable.  The  best  thing  to  do 
when  the  first  "Attention!"  fails  to  evoke  an  acceptable  response, 
or  when  any  considerable  number  of  pupils  relapse  to  a  state  of 


56  GYMNASTIC  TEACHING 

partial  inattention  or  poor  fundamental  position,  is  to  give  "At 
ease!'' ;  then  immediately,  or  after  a  brief  admonition,  repeat 
"Attention!"  in  a  way  to  compel  a  sudden  and  emphatic  assump- 
tion of  the  fundamental  position.  During  its  momentary  retention 
the  teacher  has  time  to  scan  the  class  and  make  sure  that  every 
pupil  is  erect  and  attentive.  Then,  and  not  until  then,  give  the  sig- 
nal for  the  next  exercise.  In  the  beginning  of  the  lesson  it  may  be 
necessary  to  repeat  this  procedure  several  times  before  a  good 
result  is  obtained.  (Especially  is  this  true  of  an  untrained  class.) 

It  is  a  very  common  mistake  to  give  explanations  or  descrip- 
tions of  exercises  or  lengthy  admonitions  while  the  class  is  in  the 
position  of  attention.  These,  unless  very  brief,  should  be  made 
while  the  class  is  standing  at  ease.  To  secure  the  attention  of  the 
pupils  at  any  time  when  they  have  been  allowed  to  relax  to  a 
considerable  extent  and  there  is  more  or  less  talking,  etc.  (such 
as  might  be  safe  to  permit),  give  ''Class  attention!"  then  "At 
case!"  and  begin  speaking  as  soon  as  this  last  signal  has  been 
acted  upon.  The  attention  of  the  pupils  will  be  retained  while 
they  are  formally  relieved  from  the  muscular  strain  of  the  rigid 
fundamental  position.  As  soon  as  the  explanations,  etc.,  have 
been  made  the  teacher  should  at  once  give  "Attention!"  If  he 
has  succeeded  in  holding  their  attention  while  speaking  and  no 
opportunity  is  given  for  mind  wandering  or  complete  relaxation, 
the  class  should  be  readily  brought  to  the  fundamental  position. 

Occasionally  it  may  be  expedient  to  make  an  exception  to  what 
has  been  stated  in  the  foregoing  paragraphs  and  deliberately  hold 
the  class  motionless  in  the  fundamental  position  for  some  little 
time.  It  may  be  done,  for  example,  when  the  majority  of  a  class 
has  responded  to  "Attention!"  in  an  acceptable  manner,  while  a 
few  members  are  so  deeply  engrossed  in  conversation  or  "day 
dreaming''  that  they  fail  to  hear  the  signal.  It  is  then  amusing 
to  the  rest  of  the  class  to  see  the  delinquents,  often  with  some 
embarrassment,  gradually  wake  up  to  the  fact  that  everybody  else 
is  ready  to  go  ahead  and  only  awaiting  their  belated  "arrival." 
The  moral  effect  on  the  class  as  well  as  on  the  inattentive  mem- 
bers is  apt  to  be  good.  While  in  one  sense  it  is  an  unjust  hard- 
ship on  the  majority,  there  is  usually  enough  of  the  humorous 
element  in  such  a  situation  to  redeem  it.  It  is  best  to  keep  it  on 
that  plane.  The  teacher  may  contribute  to  this  by  standing  him- 
self at  rigid  attention,  indicating  by  a  quiet  word  or  two,  or  by 
looking  significantly  at  the  culprit,  the  purpose  of  the  prolonged 
delay.  But  do  not  resort  to  this  expedient  too  often,  nor  continue 
it  too  long  at  any  time.  If  overdone  the  class  may  fail  to  enter 
into  the  spirit  of  it,  and  the  effect  may  be  opposite  to  what  was 
intended. 


ACTIVE  AND  RELAXED  POSITIONS  57 

The  relaxed  gymnastic  position. 

This  may  be  defined  as  a  partial  relaxation  from  the  muscular 
strain  and  nervous  tension  of  the  active  gymnastic  position.  It 
is  assumed  on  the  signal  "At  ease!"  {"Rest!"  or  "In  place  rest!"). 
To  a  certain  (agreed  upon)  extent  this  also  signifies  temporary 
relief  from  the  restraint  of  formal  class  discipline.  The  relief 
does  not  begin,  however,  until  the  movement  leading  to  the  posi- 
tion has  been  executed.  This  should  be  considered  a  gymnastic 
movement  and  treated  as  such.  Insist  upon  having  the  signal 
responded  to  like  any  other  gymnastic  signal — with  promptness, 
precision  and  unison.  Only  when  that  has  been  done  is  the  class 
to  relax. 

The  customary  movement  consists  in  advancing  one  foot  di- 
rectly sideways  or  diagonally  outward.  If  diagonally,  the  weight 
remains  on  the  stationary  foot.  Many  teachers  require  that  the 
right  foot  be  advanced  so  that  the  body  weight  may  rest  on  the 
left  foot,  on  the  theory  that  this  reverses  the  habitual  easy  stand- 
ing position  (with  the  left  foot  out,  the  right  hip  high  and  the 
spine  convex  to  the  left)  assumed  by  the  average  person.  En- 
couraging the  opposite  position  would  tend  to  correct  any  slight 
lateral  deviation  of  the  spine.  This  may  be  a  matter  of  opinion, 
and  it  probably  makes  but  little,  if  any,  difference  which  foot  is 
advanced,  provided  that  all  move  the  same  foot  in  response  to  the 
signal.  When  that  has  been  done,  it  is  advisable  to  allow  the 
pupils  to  stand  as  they  please,  so  long  as  they  retain  their  places 
in  the  line  and  do  not  assume  an  outright  faulty  posture  in  the 
upper  part  of  the  body.  As  to  the  degree  of  mental  relaxation — 
whether,  for  example,  conversation  is  to  be  allowed— that  is  a 
matter  for  the  teacher's  judgment  and  will  depend  upon  circum- 
stances. With  a  well-behaved  class  considerable  latitude  in  this 
respect  is  usually  safe.  If  abused,  so  as  to  lead  to  noise  and  dis- 
order, the  privilege  may  be  curtailed  or  withdrawn,  temporarily 
at  least.  Any  tendency  in  this  direction  must  be  watched  for  and 
promptly  checked.  One  way  to  check  it  is  to  make  the  periods  of 
relaxation  rather  brief  and  also  less  frequent.  If  the  class  is 
made  to  work  as  hard  and  as  rapidly  and  for  as  long  periods  as 
is  consistent  with  safety,  there  will  not  be  much  desire  for  mis- 
chief when  a  rest  is  given. 

The  technique  of  using  the  relaxed  position,  while  not  difficult, 
is  often  faulty  because  of  mere  carelessness.  Teachers,  as  well 
as  classes,  are  prone  to  forget  that  "At  case!"  is  really  a  gymnas- 
tic signal  and  calls  for  a  specified  movement.  Not  only  is  the 
teacher  apt  to  accept  a  poor  response  to  this  signal,  but  he  often 
brings  it  about  by  giving  it  in  an  ineffective  manner — hurriedly, 
without  any  particular  intonation,  as  something  not  meaning  a 


58  GYMNASTIC  TEACHING 

great  deal,  in  parenthesis  as  it  were,  not  expected  to  elicit  any 
definite  response.  It  is  a  habit  even  experienced  teachers  readily 
fall  into. 

Beginning  to  speak  to  a  class  before  the  signal  has  been  prop- 
erly acted  on  is  another  very  common  cause  for  poor  response. 
It  usually  goes  together  with  an  ineffective  signal.  Both  faults 
tend  to  weaken  the  teacher's  hold  on  the  attention  of  the  class. 

Many  teachers  do  not  use  the  relaxed  position  at  all.  That  is, 
they  do  not  give  "At  case!"  (or  its  equivalent  in  other  terms). 
But  the  class  will  relax  more  or  less  of  its  own  accord  whenever 
there  is  a  pause  in  the  lesson.  The  signal  '"Attention!"  is  then 
also  frequently  neglected.  \Yhether  these  signals  are  given  or  not, 
slackness  or  neglect  in  the  use  of  the  relaxed  position  is  usually 
associated  with  listlessness  or  poor  posture,  or  both,  in  the  active 
position.  For  on  the  proper  use  of  the  relaxed  position  depends 
to  a  large  extent  the  degree  of  success  attained  in  securing  and 
maintaining  a  good  active  position — mental  and  bodily.  Making 
the  contrast  between  the  two  as  striking  as  possible  and  the  tran- 
sition from  one  to  the  other  sharp,  sudden  and  uniform  is  con- 
ducive to  good  discipline  as  wrell  as  good  spirit  and  quality  of 
work. 

Simply  forgetting  to  give  "At  ease!"  when  the  teacher  really 
knows  that  it  should  be  given  is  a  fault  often  seen.  A  little  watch- 
fulness and  practice  will  soon  overcome  this  habit.  On  the  other 
hand,  the  use  of  the  relaxed  position  may  be  overdone  and  very 
often  is,  even  by  experienced  teachers.  A  few  suggestions  as  to 
its  use  may  be  helpful. 

When  to  use  the  relaxed  position.  (1)  When  actually  needed 
by  the  class  after  hard  work.  This  means  that  the  work  shall 
have  been  of  a  character  and  duration  to  make  a  short  rest  ap- 
preciated. Signs  of  such  need  should  always  be  watched  for  and 
noted  by  the  teacher.  lie  may  judge  by  the  vigor  of  the  work, 
the  color  and  expression  of  the  pupils'  faces,  hard  breathing,  the 
heaving  of  a  sigh  at  the  end  of  a  movement,  etc. 

(•.;)  When  speaking  to  a  class:  when  making  explanations, 
descriptions  or  demonstrations  of  exercises,  or  making  general 
admonitions  of  a  lengthy  character  when  the  first  attempt  of  a 
movement  has  not  been  satisfactory. 

('•))  When  giving  individual  assistance  in  a  way  that  takes 
some  time  and  cannot  well  be  done  while  the  class  is  working. 
Also  when  wishing  to  reprove  or  speak  to  an  individual  about  any 
matter  which  does  not  concern  the  whole  class.  l>ut  it  is  not  wise 
to  do  this  very  often. 

ll'Iien  not  to  use  the  relaxed  position.  (1)  In  a  perfunctory, 
routine  way,  between  every  exercise,  whether  needed  or  not. 

(•>)      For  the  teacher^  convenience,  while  he  is  trying  to  think 


INSTRUCTION  59 

what  to  do  next,  or  is  absorbed  in  a  lengthy  study  of  his  memo- 
randum, etc.  Such  practice  not  only  needlessly  interrupts  the 
work,  but  puts  the  teacher  in  an  unfavorable  light  before  the 
class.  Pauses  of  this  kind  are  always  more  or  less  embarrassing. 
(3)  When  very  brief  explanations  or  admonitions  are  given. 


5.     INSTRUCTION. 

Under  this  head  may  be  grouped  those  procedures  which  make 
up  the  greater  part  of  teaching,  viz.,  presentation  of  exercises  by 
imitation,  demonstration,  description  and  "cue" ;  supplementary 
instruction  and  conducting  exercises  by  cues,  admonitions,  stimu- 
lation and  assistance  as  well  as  devices  for  guiding  or  modifying 
the  rhythm,  for  varying  the  speed  or  other  features  of  the  move- 
ment, etc.  When,  how  and  to  what  extent  each  of  these  are  to 
be  used  will  depend  on  the  objects  and  character  of  the  work  as 
well  as  the  general  method  of  teaching. 

Preparation.  Before  taking  up  the  detailed  consideration  of  the 
above  topics  it  may  not  be  out  of  place  at  this  point  to  suggest  that 
the  teacher  owes  it  to  himself  as  well  as  to  the  class  to  be  well  pre- 
pared for  each  lesson.  In  the  first  place  he  should  meet  each  class 
with  a  clear  and  definite  plan  of  the  lesson  in  his  mind.  While 
extemporaneous  teaching  may  be  indulged  in  occasionally,  or  for 
a  short  series  of  lessons,  by  an  experienced  teacher  with  safety 
and  sometimes  even  with  distinct  advantage  as  regards  animation 
and  interest  in  the  work,  to  do  so  habitually  is,  to  say  the  least, 
unwise.  There  is  great  liability  to  get  into  ruts,  to  use  constantly 
certain  types  of  exercises  and  to  neglect  other  types  which  may  be 
equally  useful  and  interesting.  The  progression,  too,  is  apt  to 
suffer.  But  a  general  plan  of  the  lesson  (and  preferably  series  of 
lessons)  is  not  always  enough  in  the  way  of  preparation.  If  we 
wish  a  class  to  do  an  exercise  correctly,  the  first  requisite  is  that 
we  know  exactly  what  we  want — that  we  ourselves  have  a  clear 
idea  of  each  movement.  This  is  not  always  the  case,  especially 
with  young  and  inexperienced  teachers,  and  it  usually  means  in- 
sufficient preparation.  Not  only  is  it  advisable  to  commit  to  mem- 
ory the  names  and  order  of  the  exercises  and  to  consider  carefully 
how  each  is  to  be  presented  and  conducted,  but  it  may  be  well  to 
go  through  the  movements — mentally,  at  least,  but  actually  is  even 
better — before  giving  the  lesson.  Being  fortified  as  far  as  possi- 
ble by  a  thorough  preparation,  the  teacher  will  be  able  to  put  his 
whole  mind  on  getting  the  work  clone  satisfactorily,  rather  than 
in  embarrassing  efforts  to  think  what  to  do  next  and  how  to  go 
about  it.  It  will  also  reduce  to  a  minimum  the  necessity  for  fre- 
quent and  lengthy  reference  to  a  memorandum. 


60  GYMNASTIC  TEACHING 

Presentation. 

This  includes  all  instruction  given  before  the  exercise  is  started. 
Its  purpose  is  to  make  the  pupils  understand  exactly  what  they 
are  to  do,  i.e.,  produce  a  clear,  vivid  image  of  the  exercise  in 
their  minds.  It  may  be  done  in  several  ways,  by  the  use  of  one 
or  more  of  the  following  principles. 

1.  Imitation  or  "Follow-the-leader."  This  is  used  as  a  method 
of  starting  as  well  as  presentation  and  is  suitable  only  for  non- 
definite,  rhythmic  exercises.  As  the  teacher  performs  each  move- 
ment (or  part  of  a  complex  movement)  the  pupils  imitate  it  as 
closely  and  as  quickly  as  their  interest,  attention  and  power  of 
coordination  permit.  The  teacher  usually  counts,  and  for  the  first 
"round"  or  two  does  not  expect  nor  even  attempt  to  get  the  exact 
rhythm  or  much  unison.  That  would,  of  course,  be  unreasonable. 
But  after  a  few  repetitions  the  class  gradually  senses  the  rhythm 
of  the  movement  and  the  majority  attain  a  fair  degree  of  unison. 
This  is  facilitated  by  steadily  increasing  the  regularity  of  the 
counting  until  it  becomes  true  time  marking,  and  then  gradually 
accelerating  the  rhythm. 

The  method  is  employed  extensively  in  teaching  dancing.  Many 
teachers  also  use  it  for  gymnastic  work.  Not  infrequently  it  is 
used  more  or  less  unskillfully — because  inadvertently — by  inex- 
perienced teachers  when  trying  to  give  exercises  as  response 
movements.  Yielding  to  a  desire  to  "help"  a  class  to  understand 
the  signal  or  to  stimulate  it  to  quicker  response,  the  teacher  per- 
forms the  movement  just  as  he  gives  the  final  signal.  This 
"draws"  many  pupils,  i.e.,  they  follow  the  teacher's  movement 
with  varying  alacrity,  while  others  wait  until  the  signal  has  been 
spoken.  Next  time  a  greater  number  follow  the  teacher's  move- 
ment, while  some  move  at  the  same  time.  If  the  intervals  be- 
tween the  "signals"  are  progressively  shortened  (as  is  often  the 
case)  an  increasing  number  of  pupils  "catch  up"  with  the  teacher 
and  the  movement  soon  becomes  rhythmic,  though  the  unison 
may  not  be  very  good.  The  supposed  "signals"  have  ceased  to  be 
such  and  might  just  as  well  be  dispensed  with.  Indeed,  they  might 
have  been  dispensed  with  from  the  beginning.  The  class  would 
have  reacted  to  the  teacher's  movements  if  nothing  had  been  said. 
But  as  soon  as  a  rhythmic  movement  is  under  way,  the  counts  are 
time  markers  instead  of  signals,  occurring,  as  they  do,  at  the  end 
of,  instead  of  before,  the  movement.  When  used  in  this  way  the 
method  has  nothing  to  recommend  it.  It  usually  results  in  ragged 
work  and  often  leads  to  misunderstanding  and  dissatisfaction. 
This  has  already  been  pointed  out  in  the  discussion  of  gymnastic 
signals. 

\Yhen  skillfully  employed,  however,  the  method   (preceded  or 


INSTRUCTION  61 

not  by  naming  or  demonstrating  the  exercise)  may  serve  well 
enough  in  some  forms  of  rhythmic  work  of  a  more  or  less  non- 
definite  character  and  approaching  the  dancing  type.  It  may  be 
useful  when  teaching  very  young  children  or  classes  of  adults 
taking  the  work  solely  for  its  hygienic  value. 

On  the  other  hand  this  method  is  wholly  inadequate  when  it  is 
desired  to  give  work  of  definite,  clean-cut  character  with  a  view 
to  train  the  power  of  conscious  or  volitional  motor  control.  In 
such  work  the  pupils  should  be  required  to  obtain  their  motor 
images  from  a  single  demonstration  and  even  to  construct  the 
image — in  part  at  least — from  a  descriptive  term ;  then,  after  a 
varying  interval  of  time,  to  reproduce  the  movement  without 
assistance.  This  might  be  called  volitional  or  deliberative  repro- 
duction and  is  a  more  complex  mental  process  than  the  immediate, 
practically  reflex  or  perceptual  imitation  which  the  method  de- 
scribed above  calls  for. 

2.  Demonstration.     Another  method  depends  entirely  on  the 
demonstration  of  the  (complete)  exercise.     Little  or  no  descrip- 
tion, explanation  or  suggestion  is  made.    Counting  as  he  executes 
each  part  of  the  movement  before  the  class,  the  teacher  may  add 
some  general  direction  or  admonition  regarding  rhythm  or  vigor 
in  the  execution,  then  with  a  preparatory  "All  ready,"  and  a  final 
"One!  Tivo!"  etc.,  or  "Begin!"  (or  even  without  any  final  signal) 
the  exercise  is  started. 

This  method  has  the  advantage  of  simplicity  and  brevity.  But 
it  depends  too  much  on  unaided  observation  and  visual  memory. 
If  the  exercise  is  unfamiliar  or  fairly  complex,  many  pupils  are 
likely  to  overlook  important  details  and  retain  only  an  incomplete 
or  faulty  mental  picture  of  it.  Or  they  may  fail  to  execute  it 
correctly  because  without  helpful  suggestions  they  do  not  know 
how  to  make  the  right  muscular  efforts. 

3.  Description.     The  exercise  may  be  described  clearly  and 
concisely,  using  such  terms  as  the  class  will  readily  understand. 
The  important  features  are  emphasized,  the  difficulties  are  pointed 
out  and  faults  which  are  liable  to  occur  are  warned  against.    Sug- 
gestions regarding  the  kind  of  muscular  efforts  needed  for  cor- 
rect execution  may  be  made  in  terms  of  some  familiar  activity, 
thus  bringing  the  imagination  and  the  associative  processes  to 
bear  on  the  new  or  difficult  elements  of  the  exercise.     With  chil- 
dren a  teacher  may  go  far  afield  in  this  respect  and  illustrate  the 
movement  in  a  great  variety  of  ways  appealing  to  the  childish 
imagination.     With  adults  he  is  more  limited,  but  with  a  little 
ingenuity  he  will  find  abundant  material  for  suggestive  illustra- 
tions in  well-known  games  and  sports  as  well  as  in  many  forms 
of  labor.     For  example,  in  giving  such  a  movement,  as  "Running 
in  place  with  knee  upward  bending"  to  a  class  of  children  the 


62  GYMNASTIC  TEACHING 

teacher  may  finish  the  brief  description  with  the  suggestion  that 
the  pupils  do  it  "like  a  high-stepping  horse."  Or  if  giving  a  slow, 
resisted  "Arm  bending  and  stretching  upward"  to  a  class  of  older 
pupils  the  teacher  may  tell  them  to  do  the  movement  as  if  they 
were  pushing  up  and  pulling  down  a  heavy  weight. 

An  elaborate  descriptive  presentation  is  hardly  ever  sufficient, 
by  itself,  to  produce  a  clear  picture  of  the  exercise.  Unless  ac- 
companied by  more  or  less  detailed  demonstration  it  is  apt  to  be 
too  lengthy,  time-consuming  and  tedious,  as  well  as  inadequate. 
It  involves  too  much  talking  in  order  to  make  every  detail  clear. 
It  requires  a  closer  attention  and  greater  ability  to  understand 
than  we  have  a  right  to  expect  from  any  class  and  tends  to  make 
the  lesson  too  much  of  a  mental  drill. 

On  the  other  hand,  a  short  descriptive  term,  naming  the  exer- 
cise and  serving  at  the  same  time  as  a  preparatory  starting  signal, 
may  be  used  with  advantage  as  the  sole  presentation  of  many 
easy,  familiar  movements.  This  will  be  referred  to  as  the  short 
descriptive  method. 

The  methods  of  presentation  most  used,  because  giving  great- 
est satisfaction  from  all  points  of  view,  are  combinations  of  the 
last  two  described.  Of  such  combination  methods,  two  may  be 
differentiated  according  as  demonstration  or  description  is  pri- 
mary or  secondary,  respectively. 

(1)  The  demonstration  method.  Here  the  class  is  given  "At 
case!"  Then  follows  a  deliberate,  detailed  showing  of  the  whole 
exercise  accompanied  by  explanatory  comment,  calling  attention 
to  the  main  points,  making  helpful  suggestions,  etc.  Some  exer- 
cises are  best  demonstrated  by  a  front  view,  e.g.,  a  side  bending 
or  a  twisting  of  trunk ;  others  by  a  side  view,  such  as  forward 
or  forward-downward  bending  of  trunk,  front  leaning  rest,  leg 
flinging  forward.  Sometimes  it  may  be  well  to  show  both  front 
and  side  views. 

The  degree  of  detail  pointed  out  will  vary  with  different  exer- 
cises, with  the  style  of  work  taught  as  well  as  with  the  conditions 
under  which  the  \vork  is  carried  on.  The  total  amount  of  instruc- 
tion required  for  each  exercise  will,  of  course,  depend  on  the  stage 
of  progress  of  any  class  and  its  familiarity  with  a  given  exercise 
or  the  elements  of  which  it  is  composed.  With  well-trained 
classes  and  rational  progression  a  considerable  number  of  move- 
ments require  no  other  presentation  than  a  descriptive  prepara- 
tory signal,  at  most  accompanied  by  a  "cue." 

(2}  The  cue  method.  The  detailed  instruction  given  when 
presenting  an  exercise  may,  as  stated,  be  replaced  bv  a  ''cue" 
U'hile  the  class  remains  at  attention.  The  word  is  used  here  to 
mean  a  rapid  performance  of  the  exercise,  not  deliberate  enough 
to  be  called  a  demonstration,  and  serving  merely  as  a  reminder  or 


INSTRUCTION  63 

suggestive  indication  of  a  movement  with  which  the  class  is  sup- 
posed to  be  familiar.  It  is  done  while  the  descriptive  preparatory 
signal  is  given.  It  insures  the  correct  interpretation  of  the  name 
of  the  exercise  by  all  the  (attentive)  members  of  the  class  and 
aids  in  their  construction  of  the  "image"  of  the  exercise.  "When 
the  movement  is  complex,  several  parts  of  the  body  moving  si- 
multaneously as  well  as  successively,  the  name  of  the  exercise 
serving  as  the  preparatory  signal  is  usually  quite  long.  In  that 
case  there  is  time,  if  occasion  calls  for  it,  to  make  the  cue  suf- 
ficiently detailed  to  amount  to  a  rapid  demonstration,  including 
the  correct  rhythm;  but  it  should  ahvays  be  finished  before  the 
pause  preceding  the  final  signal.  Cues  of  this  kind  are  very  use- 
ful as  time-saving  devices.  The  extent  to  which  the  cue  method 
may  be  used  depends,  like  every  other  feature  of  the  instruction, 
on  the  progression  and  the  stage  of  advancement  of  the  class. 
Skillfully  applied  and  backed  by  adequate,  timely  supplementary 
instruction,  it  should  answer  for  most  of  the  exercises  of  a  well- 
planned  lesson.  It  thus  makes  for  greater  continuity  of  the  work, 
without  loss  of  the  fundamental  gymnastic  position. 

The  term  "cue"  may  also  be  applied  to  suggestive  reminders — 
movements  by  the  teacher  accompanied  or  not  by  admonitions — 
while  a  rhythmic  movement  is  in  progress.  They  are  particularly 
useful  in  the  more  complex  combinations  of  movements,  such, 
for  example,  as  charges  or  lunges  combined  with  dissimilar  arm 
movements  and  even  trunk  and  head  movements  in  opposite  di- 
rections. 

Cues  are  also  used  to  assist  a  class  in  going  through  memorized 
gymnastic  drills,  in  the  same  way  as  when  teaching  dances.  As 
the  class  is  executing  the  last  part  of  one  exercise,  the  teacher 
indicates  the  next  by  a  movement  varying  in  extent  from  a  slight 
gesture  to  a  complete  and  exact  demonstration  of  the  first  part 
of  the  next  exercise.  Such  a  movement  takes  the  place  of  a  verbal 
reminder  when  a  suitably  brief  and  concise  term  is  lacking,  or 
when  the  music  or  noise  made  by  dumb-bells,  etc.,  might  make  it 
difficult  for  many  pupils  to  hear. 

Supplementary  instruction. 

General  admonitions  and  stimulation.  Admonitions  may  be 
given  as  a  part  of  the  presentation,  or  as  supplementary  instruc- 
tion. In  the  former  case  they  may  follow  the  presentation 
directly,  serving  to  emphasize  or  reen force  some  essential  point  al- 
ready made,  or  adding  another.  For  example,  after  demonstrat- 
ing and  explaining  such  an  exercise  as  "Alternate  arm  flinging 
sideways-upward  with  opposite  leg  flinging  sideways"  the  teacher 
may  add  :  "Remember  to  make  the  down-stroke  just  as  vigorous 


64  GYMNASTIC  TEACHING 

as  the  up-stroke."  But  avoid  the  common  mistake  of  giving  ad- 
monitions after  the  class  has  been  called  to  attention,  and  espe- 
cially after  the  preparatory  signal  for  the  movement  has  been 
given. 

In  response  exercises,  when  each  movement  is  done  on  signal, 
the  short  periods  spent  by  the  class  in  holding  positions  may  be 
utilized  by  the  teacher  in  giving  further  or  repeated  admoni- 
tions regarding  the  execution  of  the  next  movement,  as  well  as  in 
correcting  the  position  or  criticising  the  movement  by  which  it 
was  reached.  Such  admonitions  may  be  of  a  warning  character, 
asking  the  class  to  look  out  for  some  mistake  or  shortcoming 
apparent  in  the  execution  of  the  preceding  movement.  They  are 
then  somewhat  in  the  nature  of  corrections,  and  if  given  in  the 
right  way — in  a  spirit  of  helpfulness — are  very  effective.  Here 
again  they  must  be  brief  and  to  the  point,  for  the  pupils  are  (or 
should  be)  working  hard  holding  a  gymnastic  position  often  even 
more  fatiguing  than  the  fundamental  position. 

Finally,  admonitions  find  their  greatest  field  of  usefulness  when 
the  work  consists  of  rhythmic,  continuous  exercises.  Even  when 
the  rhythm  is  smooth  and  uniform  and  there  is  little  or  no  effort 
made  to  hold  positions,  an  energetic  teacher  will  find  occasion 
for  frequent  admonitions.  But  when  definite  exercises  are  done 
continuously,  in  staccato  and  often  uneven  or  undulating  rhythm, 
and  the  intermediate  as  well  as  terminal  positions  are  held  a  vary- 
ing length  of  time,  then  admonitions  constitute  a  large  and  most 
important  part  of  the  instruction.  Here,  too,  they  sometimes  take 
the  form  of  warnings  and  corrections,  but  even  more  frequently 
they  are,  or  should  be,  of  a  positive  character — suggestive,  stim- 
ulating. To  maintain  a  rhythmic  gymnastic  exercise  on  the  plane 
of  conscious,  volitional  effort,  to  keep  it  from  becoming  an  easy, 
"mechanically"  executed  movement — a  purely  reflex  action  with- 
out much  or  any  conscious  coordination  or  effort — requires  con- 
stant and  varied  stimulation.  A  wide-awake,  enthusiastic  teacher 
may  find  it  to  advantage  to  keep  up  an  almost  continual  stream 
of  stimulating  admonitions  (often  reenforced  by  movement- 
''cues"  suggesting  vigorous  and  correct  action),  directed  now  to 
one  part  of  the  class,  now  to  another,  but  more  often  addressed 
to  the  whole  class.  Such  stimulation  may  be  needed  to  steady  the 
rhythm,  to  slow  it  down  or  to  accelerate  it ;  to  increase  the  speed 
in  one  movement  and  to  decrease  it  in  another ;  to  get  the  class 
to  try  for  more  precision,  more  vigor  in  the  execution  ;  to  insure 
the  holding  of  positions  longer  and  with  greater  steadiness,  more 
perfect  weight  distribution ;  to  aid  the  class  in  beginning  and 
finishing  each  movement  with  more  accent  and  with  better  uni- 
son ;  to  remind  the  class  of  agreed-upon  signals  for  and  different 
methods  of  stopping  the  exercise,  etc.  There  is  no  limit  to  the 


INSTRUCTION  65 

variety  of  form  and  the  degree  of  intensity  of  such  stimulation. 
While  a  partial  list  might  be  made  of  expressions  actually  used 
by  various  teachers  in  stimulating  classes,  it  is  doubtful  if  it 
would  be  of  much  value,  except  as  suggestive  material.  Any  at- 
tempt to  use  such  a  list — verbatim — would  be  in  the  nature  of 
imitation,  would,  therefore,  with  difficulty  be  made  to  appear 
spontaneous,  and  consequently  would  be  more  or  less  ineffective. 
Again,  general  use  of  language  and  special  terms  suited  to  one 
class  might  not,  and,  in  fact,  rarely  would,  be  suitable  to  another 
class.  Each  teacher  must  depend  on  his  own  ingenuity,  inspira- 
tion and  sense  of  fitness  of  things  to  hit  on  adequate  and  appro- 
priate methods  of  stimulation.  Some  general  principles  regard- 
ing the  use  of  stimulation  may,  however,  be  suggested. 

1.  As  in  the  case  of  discipline,  so  with  stimulation :  Never  use 
any  stronger  means  than  is  necessary  to  attain  the  desired  end. 
With  a  new  class,  unaccustomed  to  the  teacher's  ways  or  to  the 
kind  of  work  he  is  to  give,  and  with  the  spirit  of  willing  coopera- 
tion often  shown  in  the  beginning,  suggestions  expressed  in  mod- 
erate terms  without  great  intensity  of  voice  may  be  sufficient. 
Such  moderation  in  the  beginning  is  usually  the  wisest  course  for 
two  reasons :  At  first  there  are  a  great  many  details  in  the  work 
calling  for  the  use  of  stimulating  admonitions.  Some  discrimina- 
tion must  be  used  in  treating  each  according  to  its  relative  im- 
portance. Second,  as  the  work  progresses  its  quality  is  expected 
to  improve,  and  if  the  strongest  measures  have  been  used  to 
attain  mediocre  results,  how  are  the  finer  and  more  difficult  dis- 
tinctions and  effects  to  be  obtained?  While  ever  striving — by 
word  or  action,  or  both — to  imbue  the  class  with  a  desire  to  do 
its  utmost  in  the  way  of  effort,  precision  and  unison,  avoid  "whirl- 
wind" methods  of  stimulation.  Do  not  "pepper"  the  class  with 
exhortations  and  admonitions.  Give  each  a  chance  to  sink  in  and 
produce  reaction.  From  time  to  time  stand  still  and  silent,  ob- 
serving the  class  intently  and,  of  course,  critically.  This  gives 
the  class  an  opportunity  to  notice  its  own  action ;  it  awakens 
group  consciousness  and  creates  a  sense  of  solidarity  as  well  as 
individual  responsibility  and  is  quite  an  effective  method  of  stim- 
ulation. On  the  other  hand,  a  too  rapid  fire  of  general  exhorta- 
tions or  specific  admonitions  defeat  their  purpose — they  disperse 
the  attention  instead  of  focusing  it  on  successive  details.  Besides, 
as  the  pupils  become  accustomed  to  a  teacher's  methods  of  stim- 
ulation they  naturally  grow  less  sensitive  and  responsive  to  them. 
This  makes  it  necessary  for  the  teacher  to  use  constantly  new 
forms  of  expression,  and,  up  to  a  certain  limit,  with  increasing 
intensity  and  power  in  order  to  be  effective.  For  these  reasons 
it  behooves  a  teacher  to  husband  his  resources,  always  keeping 
something  in  reserve ;  to  be  patient  and  not  expect  everything  at 


66  GYMNASTIC  TEACHING 

once ;  to  be  satisfied  with  a  fair  degree  of  responsiveness,  alacrity, 
speed,  unison,  etc..  at  first  and  trust  to  the  combined  effects  of  the 
work  and  his  whole  teaching  (supplemented  by  gradually  increas- 
ing stimulation)  for  further  improvement  in  the  quality  and  finish 
of  the  work. 

2.  In  apparent  contradiction  to  the  above,  it  may  sometimes 
be  wise  to  use  extravagant  terms  of  expression  (not  at  too  early 
a  stage,  however).     It  may  be  justifiable  if  such  terms  are  of  a 
particularly  suggestive  character  and  especially  if  they  are  at  the 
same  time  more  or  less  humorous,  either  by  virtue  of  their  ex- 
travagance or  otherwise.     For  example,  when  trying  to  stimulate 
a  class  to  greater  effort  and  wider  range  of  movement  in  the 
exercise  "Alternate  knee  upward  bending"  it  may  be  permissible 
to  use  such  an  admonition  as  "Try  to  touch  the  chin  with  the 
knee  without  ducking  the  head  forward"  even  though  in  a  literal 
sense  that  is  anatomically  impossible.     The  class  soon  finds  this 
out,  if  it  does  not  know  it  before,  but  that  does  not  detract  from 
the  effectiveness  of  the  suggestion.    The  pupils  usually  take  such 
a  thing  humorously  while  responding  as  desired  to  the  implied 
stimulation. 

3.  Most  admonitions  may  be  increased  in  their  effectiveness 
by  being  timed  so  as  to  coincide  with,  or  only  slightly  precede,  the 
particular  movement   or  position   for   which  they   are  intended. 
They  must  then  be  given  very  quickly.     This  requires  some  skill, 
but  with  a  little  practice  any  one  may  learn  to  do  it.     Examples 
of  such  timing  are  the  admonitions  for  varying  the  speed  of  a 
movement  given  at  the  end  of  the  preceding;  or  "Hold  it  a  mo- 
ment" spoken  just  as  the  class  arrives  in  a  position.     "Cues"  and 
verbal  reminders  of  the  next  movement  in  any  exercise  composed 
of  several  dissimilar  elements  are  timed  in  much  the  same  way. 
Intercepting  a  movement  in  this  manner  is  very  effective,  if  skill- 
fully done. 

Individual  instruction  and  assistance.  The  discussion,  thus  far, 
has  dealt  with  instruction — presentation  as  well  as  supplemen- 
tary— expressed  in  general  terms  and  directed  to  the  class  as  a 
whole.  Starting  and  guiding  the  group  action,  insuring  unison, 
snap  and  vigor  and  a  true,  steady  rhythm  are  the  teacher's  first 
and  constant  concern.  While  this  implies  individual  cooperation 
of  the  majority,  it  does  not  necessarily,  or  even  generally,  mean 
that  each  member  of  the  class  does  his  best  all  the  time.  To  reach 
every  individual,  to  make  each  one  desire  and  constantly  strive  for 
perfection  is — or  should  be — the  end  and  aim  of  instruction. 
Hence  the  teacher  should  not  lie  content  with  a  fairly  satisfactory 
general  group  action  and  overlook  the  individual.  As  soon  as  a 
rlivthmic  movement  is  under  way,  or  a  position  is  taken  by  a 
response  movement  on  signal,  a  systematic  survey  of  the  class  will 


INSTRUCTION  67 

indicate  the  need  for  individual,  as  well  as  general,  supplementary 
instruction.  While  admonitions  addressed  to  the  class  as  a  whole 
often  are  aimed  at  and  reach  certain  individuals,  there  is  constant 
need  for  specific  directions,  stimulation  and  occasionally  even 
manual  assistance  for  others  who  for  some  reason  fail  to  react 
as  desired. 

This  is  one  of  the  most  important  parts  of  teaching  and  one  of 
the  most  difficult.  On  the  promptness,  effectiveness  and  tact  with 
which  individual  instruction  is  given  depends  to  a  large  extent 
the  quality  of  the  work  obtained  from  the  pupils  as  well  as  their 
attitude  toward  the  work,  their  ideals,  standards  and  general  con- 
ceptions of  it.  Critical  comment  and  prodding  admonition,  gen- 
eral as  well  as  individual,  may  be  so  made  that  the  majority  come 
to  hate  both  the  work  and  the  teacher ;  or  they  may  be  made  in  a 
way  to  stimulate,  to  arouse  interest  in  the  work  and  esprit  dc 
corps,  as  well  as  respect  and  regard  for  the  teacher.  The  princi- 
ple of  learning  by  repetition  of  acts,  eliminating  undesirable  fea- 
tures, remedying  shortcomings  while  retaining  in  memory  the  de- 
sirable mode  of  action,  and  gradually  forming  habits  of  doing 
things  in  the  right  way,  is  absolutely  dependent  on  the  teacher's 
criticism  and  guidance.  "The  teacher  must  stamp  out  the  wrong 
habits  and  stamp  in  the  right  ones,"  as  Thorndike  so  tersely  puts 
it.* 

To  achieve  this  result,  it  is,  of  course,  absolutely  necessary  for 
the  teacher  to  know  when  individual  help  is  needed.  He  must 
have  a  clear  idea  of  what  can  be  accepted  and  what  cannot,  as 
well  as  tact  and  judgment  in  choosing  the  best  time  and  pro- 
cedure. What,  when  and  how  to  correct,  depends  on  circum- 
stances and  conditions  to  some  extent  and  also  on  the  objects  and 
aims  of  the  work  under  any  given  conditions.  It  would  make  a 
great  deal  of  difference,  for  example,  whether  the  class  is  that 
of  a  mother's  club  in  a  Settlement,  of  second  grade  children  in 
a  public  school,  or  boarding  school  girls  between  the  ages  of  four- 
teen and  eighteen.  It  must  always  be  borne  in  mind  that  the 
standards  we  set  ourselves  are  relative  in  this,  as  in  most  respects. 

While  having  in  his  mind  a  definite  and  high,  but  reasonable, 
standard  of  the  work,  based  on  his  conception  of  its  purpose, 
scope  and  adaptation  to  given  conditions,  the  teacher  must  use 
constant  judgment  and  discrimination  in  striving  to  perfect  in- 
dividual performance.  For  if  his  standards  are  high  and  his  ob- 
servation keen,  he  will  find  many  imperfections,  great  and  small, 
especially  in  the  beginning  or  when  giving  a  new  and  difficult  ex- 
ercise. The  important  things,  the  main  essentials,  should  receive 
attention  first,  and  finer  details  be  left  for  another  occasion,  when 

*K.  L.  Thorndike.  "Xotes  on  Child  Study." 


68  GYMNASTIC  TEACHING 

by  practice  and  repetition  the  class  has  learned  to  do  the  exer- 
cise in  a  way  that  insures  the  accomplishment  of  its  main  objects. 
For  example,  when  posture  and  general  motor  training  are  of 
prime  importance,  the  position  of  head,  chest,  shoulders,  lower 
back  and  often  of  the  arms,  the  inclination  of  the  body,  etc., 
should  be  attended  to  first,  and  minor  details,  such  as  the  position 
of  fingers,  wrists,  feet,  etc.,  later.  When  the  immediate  organic 
effects  are  aimed  at  primarily,  the  vigor  and  amplitude  of  the 
movement,  its  rhythmic  swing  and  continuity,  will  form  the  main 
theme  for  critical  comment  or  rather  for  stimulating  admonitions 
and  coaching.  Other  details  are  then  of  secondary  importance. 

Keen  power  of  observation,  natural  and  trained,  is  a  necessary 
qualification  in  teaching  and  should  be  cultivated  and  striven  for. 
On  the  teacher's  ability  to  see  errors  depend  both  the  quality  of 
the  work  and  the  discipline.  Accepting  slovenly  or  faulty  work 
at  once  lowers  the  standard  of  excellence  which  the  class  feels 
the  teacher  demands,  and  less  effort  will  be  made  to  approach  per- 
fection. If  mistakes  and  shortcomings  are  not  seen,  the  pupils 
may  either  think  that  they  are  doing  the  exercises  satisfactorily ; 
or,  as  often  happens,  especially  with  children  (if  they  know  that 
they  are  not  doing  things  correctly),  they  form  a  poor  opinion 
of  the  teacher's  power  of  observation,  think  he  is  "easy,"  and  will 
promptly  take  advantage.  The  teacher  should  try  to  notice  every- 
thing— rhythm,  exactness  and  vigor  of  execution,  promptness  and 
unison  of  response — and  in  some  way  let  the  class  know  whether 
satisfactory  or  not.  By  timely  comment  and  individual  coaching 
every  pupil  is  thus  made  to  feel  that  he  is  observed,  that  nothing 
escapes  the  teacher's  notice.  It  is  well  to  make  a  practice  of 
systematic  inspection  of  each  line  or  portion  of  the  class  during 
the  execution  of  every  movement.  In  time  such  systematic  obser- 
vation will  become  habitual. 

To  facilitate  systematic  observation,  the  position  of  the  teacher 
relative  to  the  class  and  the  distribution  and  formation  of  the 
class  on  the  floor  should  be  given  careful  consideration.  (This 
has  already  been  discussed  in  a  previous  chapter.)  For  example, 
a  faulty  forward  bending  is  very  readily  seen  if  the  class  is  in 
line  formation  and  the  teacher  views  it  from  the  end  of  each  line, 
an  oblique  charge  is  perhaps  best  observed  from  a  column  forma- 
tion, the  teacher  again  viewing  it  from  one  end,  facing  the  class. 

Causes  of  Errors.  The  method  and  manner  of  eliminating  im- 
perfections will  vary  with  their  nature  and  causes.  It  is,  there- 
fore, necessary  that  the  teacher  be  able  to  judge  or  ascertain 
surely  and  quickly  such  causes.  The  following  are  some  of  the 
more  important : 

].  Insufficient,  unclear  or  faulty  presentation.  This  is  a  not 
uncommon  occurrence,  even  among  good  teachers.  Especially 


INSTRUCTION  69 

is  this  true  as  regards  demonstration.  A  teacher  may  not  be 
aware  of  habitual  slackness  in  this  respect  unless  somebody  calls 
his  attention  to  it.  It  may  put  him  in  an  embarrassing  position 
before  the  class,  if  he  finds  it  out  at  the  time,  especially  if  he  has 
reproved  the  class  for  not  doing  the  exercise  correctly.  It  he  re- 
mains unaware  of  the  fact,  the  class,  or  some  of  its  members,  may 
misconstrue  his  criticisms  or  doubt  his  sense  of  justice.  One  can 
never  be  absolutely  sure  of  perfection  and  therefore  it  is  wise  oc- 
casionally to  admit  to  the  class  that  the  exercise  as  demonstrated 
may  not  be  correct  in  every  particular. 

A  careless,  hurried,  fragmentary  or  otherwise  unskillfully 
given  "cue,"  accompanying  a  too  rapidly  spoken  preparatory  sig- 
nal, is  another  example  of  inadequate  presentation  It  may  result 
in  general  failure  or  at  least  in  hesitation  on  the  part  of  the  class. 
But  in  any  case  it  is  the  frequent  cause  of  many  individual  im- 
perfections. 

2.  The   presentation   may   have   been   correct,    sufficient   and 
clear  to  the  majority,  but  some  may  not  have  seen,  heard  or  un- 
derstood everything.    These  may,  therefore,  have  a  wrong  picture 
of  the  exercise  in  their  minds  and  do  it  accordingly.   It  is  wise  for 
the  teacher  to  assume  this  to  be  the  case  nearly  always,  particu- 
larly when  not  absolutely  sure  of  the  cause.     It  gives  the  individ- 
ual (or  class)  the  benefit  of  the  doubt  and  is  not  likely  to  produce 
resentment,  because  it  implies  that  perhaps  the  teacher  was  at 
fault.     The  same  principle  may  be  applied  in  a  broad  way  to  all 
kinds  of  correction — individual  and  general;  in  class  and  out  of 
class.     It  is  a  good  mental  attitude,  conducive  to  friendly  rela- 
tions. 

3.  Again,  imperfections  may  be  due  to  actual  inability  on  the 
part  of  a  class  or  individuals.     Such  inability  may  be  lack  of  co- 
ordination.   This  is  the  most  common.    If  it  applies  to  great  num- 
bers, simpler  work  rather  than  much  correction  may  be  the  best 
course.     Structural  defects  and  pecularities  are  often  causes  of 
poor    work,    e.g.,    tightness    around    the    shoulders,    pronounced 
round  or  hollow  back,  lateral  deviations  of  the  spine,  flat  or  other- 
wise deformed  chest,  shortness  of  hamstring  muscles,  etc.     In 
such  cases  special  work  as  well  as  encouragement  and  stimulation 
may  be  helpful.    Not  infrequently  a  faulty  execution  may  be  due 
to  some  temporary  disability,  as  lame  ankle,  knee  or  shoulder ; 
or  to  general  fatigue,  malaise  or  poor  condition.     The  teacher 
must  be  quick  to  notice  signs  which  point  to  any  one  of  these  pos- 
sibilities, so  as  to  avoid  being  unjust.    Of  course,  pupils  may  have 
some  little  thing  the  matter  with  them  and  for  reasons  of  their 
own  try  to  make  the  most  of  such  disability.    Then  the  teacher's 
judgment  and  resourcefulness  must  determine  the  best  way  to 


70  GYMNASTIC  TEACHING 

deal  with  the  case.     Rut  be  charitable  when  judging  doubtful 
cases. 

4.  Inattention  may  be  and  often  is  the  cause  of  mistakes  or 
slovenly  execution.   When  sure  of  it  the  teacher  should  show  that 
he  is  aware  of  the  fact  by  disapproval  of  some  kind.     But  if  not 
sure,  be  slow  to  assume  it.    Rather  put  it  down  as  being  a  case  of 
failure  to  understand.     Find*  out  if  the  pupil's  hearing  is  good. 

5.  Mischievousness.     The  same  applies  to  this  as  to  the  pre- 
ceding.    If  you  have  a  clear  case,  it  may  be  wise  to  deal  with  it 
peremptorily,  even  if  the  offense  is  relatively  small.     "Nip  things 
in  the  bud"  is  always  a  good  rule  in  preserving  discipline. 


Summary  of  methods  of  supplementary  instruction. 

I.     General  coaching  (addressed  to  the  class  as  a  whole). 

1.  A  brief  admonition  may  be  given  as  a  part  of  the  prepara- 
tory signal,  e.g.,   "With  head    (and   elbows)    well  back:   Trunk 
forward — bend!" 

2.  Admonitions,  preferably  of  a  positive,  but  sometimes  of  a 
negative,  character  may  be  given  during  the  exercise.     This  form 
of  instruction  is  particularly  useful  in  continuous,  rhythmic  move- 
ments.  The  teacher  may  increase  the  effectiveness  of  such  admo- 
nitions by  doing  the  exercise  with  the  class  in  an  energetic  man- 
ner, even  exaggerating  the  correctness  and  vigor  of  the  execution, 
if  that  were  possible.     In  this  way  he  can  throw  a  great  deal  of 
suggestion  into  his  admonitions.     Here  also  it  may  be  wise  to  il- 
lustrate the  fault,  by  way  of  helping  the  understanding  of  the 
class. 

3.  General  admonitions  may  be  given  while  a  gymnastic  posi- 
tion is  being  held.     This  applies,  of  course,  only  when  doing  re- 
sponse movements  on  signal. 

4.  Stopping  a  rhythmic  movement  and  giving  the  class   "at 
ease,"  then  reillustrating  and  reexplaining  the  movement,  making 
admonitions    more    emphatic    and   demonstrations    more    careful 
than  the  first  time. 

r>.  Recalling  a  complex  movement  before  the  completion  of 
the  first  cycle,  if  the  teacher  judges  that  it  is  too  difficult  for  the 
average  ability  of  the  class,  and,  after  making  the  necessary  ex- 
planations and  admonitions,  beginning  all  over,  or  giving  only 
a  part  of  it  ;  or  substituting  something  else  less  difficult. 

II.     Individual  coaching. 

1.  By  admonitions  while  the  movement  is  being  done,  or  while 
the  position  is  being  held.  The  attention  of  the  individual  may  be 
secured  by  naming  him,  if  necessary,  or  by  catching  his  eye  and 


INSTRUCTION  71 

then  by  look  or  gesture,  etc.,  making  it  clear  that  the  admonition 
is  directed  to  him. 

2.  By  manual  assistance  during  the  exercise.    This  is  often  a 
delicate  matter  and  should  only  be  used  as  a  last  resort.     It  is 
seldom  resented  when  accompanied  by  admonitions  in  an  under- 
tone, given  in  a  decidedly  friendly  manner,  making  it  clear  that 
you  are  simply  trying  to  help  the  pupil.     If  the  teacher  has  the 
right  mental  attitude  the  pupils  generally  appreciate  such  efforts 
rather  than  the  reverse.     They  are  keen  to  judge  this  attitude, 
however,  and  if  the  teacher's  manner  is  brusque  or  peremptory- 
suggestive  of  bossiness  or  impatience — or  if  the  manipulations 
are  at  all  rough,  they  will  show  their  resentment  in  one  way  or 
another.     Such  failure  of  appreciation  may  be  expressed  in  re- 
sisting, or  by  doing  worse  than  before,  or  by  making  no  effort  at 
all,  or  by  discontinuing  the  movement  and  perhaps  looking  an- 
noyed and  even  resentful. 

3.  By  showing  and  explaining  after  the  class  has  finished  the 
movement  and  is  "at  ease"  so  that  the  individual  will  be  able  to 
do  better  next  time.    This  should  not  be  tried  very  often. 

4.  By  stopping  the  class  and  giving  "at  ease"  while  helping  the 
individual,  then  letting  the  class  continue  the  movement.     This 
procedure  is  not  very  advisable.    The  teacher  must  be  sure  of  his 
class,  for  interruptions  of  this  kind  are  apt  to  lead  to  slackened 
attention  and  loss  of  interest.     Do  not  resort  to  this  expedient 
often,  and  always  be  as  quick  as  possible  about  it. 

5.  By  helping  an  individual  after  class,  especially  if  the  gen- 
eral quality  of  his  work  is  unsatisfactory.     The  teacher  can  then 
ascertain  the  causes  of  poor  work  by  careful  questioning  and,  if 
dependent  on  wrong  mental  attitude  toward  the  work,  can  set 
this  right  by  speaking  to  him  in  a  way  to  make  him  understand 
the  purpose  and  catch  the  spirit  of  the  work. 

General  coaching  is  to  be  used  in  preference  to  individual,  even 
when  only  a  few  are  at  fault.  In  that  case  try  to  make  the  indi- 
viduals in  question  know  that  the  admonitions  are  intended  for 
them. 

When  a  considerable  number  do  the  exercise  in  a  faulty  man- 
ner, stop  the  movement,  give  "at  ease,"  redescribe  and  illustrate 
both  the  correct  and  faulty  way  of  doing  it. 

When  attending  to  individuals  and  especially  when  giving  man- 
ual assistance,  do  not  forget  the  class.  If  a  gymnastic  position  is 
being  held  many  pupils  will  become  too  tired  to  maintain  it  (or 
simply  take  advantage  of  the  teacher's  momentary  "absence"), 
and  all  are  liable  to  relax  somewhat  if  the  position  is  held  too  long. 
There  will  then  be  more  and  more  imperfections.  Rather  attend 
rapidly  to  a  few,  let  the  class  return  to  the  fundamental  position, 
then  repeat  the  same  exercise  and  attend  to  a  few  more.  If  the 


72  GYMNASTIC  TEACHING 

class  is  doing  a  continuous  movement,  keep  an  eye  (and  ear)  on 
the  class  while  assisting  individuals.  From  time  to  time  give  a 
general  admonition,  steady  the  rhythm  by  counting  through  a  few 
movements,  etc.,  then  resume  the  work  with  the  individual.  Too 
much  should  not  be  attempted  in  this  direction,  however,  both  on 
account  of  the  difficulty  to  make  clear  (quickly)  to  the  individual 
what  is  wanted,  and  because  of  the  liability  to  forget  the  class. 
Sometimes  it  may  be  wise  to  let  the  individual  stop,  then  put  him 
through  the  exercise  slowly  once  or  twice,  the  class  in  the  mean- 
while keeping  on.  But  this  is  risky  unless  the  class  is  exception- 
ally reliable  and  well  trained. 

The  technique  of  manual  assistance.  How  to  take  hold  of  a 
pupil  and  by  pressure  and  counter-pressure,  assistance  and  resist- 
ance, put  him  in  the  right  position  or  guide  him  in  the  execution  of 
the  movement  is  quite  an  art  in  itself  and  must,  in  the  main,  be 
acquired  by  experience.  Each  movement  or  position  presents 
various  difficulties,  and  each  requires  its  own  method  of  manual 
assistance.  A  few  general  principles  may  perhaps  be  stated  and 
the  "holds"  in  some  of  the.  more  common  types  of  movements  and 
positions  described. 

As  a  rule  stand  behind  or  on  one  side  of  the  pupil,  rarely,  if 
ever,  in  front.  When  approaching  from  behind,  make  a  point  of 
speaking  to  the  pupil  before  touching  him.  Give  some  admonition, 
make  some  comment  or  simply  say,  "Let  me  help  you  get  this 
right."  Whatever  form  such  warning  may  take,  be  sure  to  make 
the  pupil  feel  that  the  purpose  of  the  manipulation  is  to  help  him. 
If  the  teacher  really  has  a  friendly  mental  attitude  and  goes  about 
it  in  a  brisk  and  business-like  manner,  manual  assistance  will 
rarely  be  resented. 

When  trying  to  overcome  one  difficulty,  be  careful  that  the 
necessary  yielding  and  adjustment  of  one  part  of  the  body — as 
arms,  head,  knee,  foot — do  not  induce  an  incorrect  position  or  an 
undesirable  movement  in  another  part,  or  disturb  the  body  equi- 
librium. 

Use  a  firm  and  steady  touch,  not  too  sudden  and  never  with 
such  force  as  to  suggest  roughness.  Avoid  touching  the  pupil's 
face,  but  if  necessary— as  in  correcting  a  forward  position  of  the 
head — use  the  finger  tips  only. 

When  the  pupil's  arms  and  shoulders  are  bare  refrain  from 
touching  these  parts  if  the  hands  are  very  cold.  Wait  until  they 
are  warmed  up  by  exercise  and  friction. 

Do  not  persist  in  the  use  of  this  procedure  if  a  pupil  is  exces- 
sively ticklish.  It  only  makes  matters  worse. 

He  careful  not  to  mistake  natural  limitation  of  mobility  for 
resistance  on  the  part  of  the  pupil.  In  general,  do  not  resort  to 


INSTRUCTION  73 

manual  assistance  until  other  means  have  been  tried  and  found 
unavailing-. 

When  trying  to  put  a  pupil  in  correct  position  the  teacher  may 
find  that  two  hands  are  not  enough.  To  steady  the  pupil  and 
localize  the  movement  properly  by  pressure  and  counter-pressure, 
he  may  have  to  use  his  elbows,  shoulders,  head,  chest,  hip,  knee 
and  even  foot.  The  following  methods  of  procedure  in  a  few 
representative  types  of  exercises  have  proved  effective  and  may 
serve  as  illustrations : 

When  doing  an  arm  stretching  or  flinging  upward,  pupils  often 
fail  to  bring  the  arms  far  enough  back.  To  assist  them  in  reach- 
ing the  correct  final  position,  the  teacher  should  stand  on  the  pu- 
pil's left  (or  right)  side  and  a  little  behind;  the  left  forearm  is 
then  placed  across  the  pupil's  arm  in  front  and  presses  backward, 
while  the  right  hand  is  placed  between  the  pupil's  shoulder  blades 
and  presses  forward. 

To  improve  the  position  reached  by  placing  the  hands  behind 
the  neck,  the  teacher,  standing  behind  the  pupil,  grasps  the  lat- 
ter's  elbows  and  pulls  backward,  at  the  same  time  exerting  coun- 
ter-pressure by  gently  pressing  his  own  elbow  or  chest  against  the 
pupil's  shoulder  blades. 

The  same  procedure  may  be  used  in  improving  the  position 
reached  by  forward  bending  of  arms,  or  arm  raising  sideways. 

When  a  forward  position  of  the  head  accompanies  a  faulty 
position  of  the  arms  in  the  above  movements,  the  teacher  stands 
at  one  side  of  the  pupil  (left),  his  left  hand  grasping  the  pupil's 
right  elbow  (or  arm)  from  the  front,  his  left  arm  or  forearm 
pressing  the  pupil's  chin  backward,  his  left  shoulder  or  chest  (or 
his  head)  pressing  the  pupil's  left  elbow  (or  arm)  backward, 
while  his  right  elbow  and  hand  exert  counter-pressure  against  the 
pupil's  shoulder  blades  and  occiput. 

To  correct  a  faulty  position  of  head  only,  with  chin  protruding, 
place  the  finger  tips  of  one  hand  on  the  pupil's  chin,  pressing 
firmly  backward  and  upward,  while  steadying  the  pupil's  head 
with  the  other  hand  placed  on  the  occiput. 

Side  bending  of  trunk  with  the  hands  on  hips  or  behind  neck, 
overhead  or  in  one  of  the  side-horizontal  (cross)  positions  is  often 
executed  with  a  rounded  back  and  forward  position  of  arms  and 
shoulders,  a  bend  at  the  hips  or  twist  in  the  body.  Whether  one 
or  several  or  all  of  these  faults  are  present,  the  movement  may 
be  guided  by  grasping  the  arms  or  shoulders  from  behind  and 
pulling  backward  (or  twisting,  as  the  case  may  be),  while  the 
pupil's  equilibrium  is  steadied  by  the  opposition  of  the  teacher's 
chest  or  hip. 

A  forward  bending  of  trunk  (with  the  arms  in  any  of  the  high 
positions)  is  guided  from  the  side,  the  teacher  stooping  down  and 


74  GYMNASTIC  TEACHING 

placing  one  arm  in  front  of  the  pupil's  arms  or  shoulders,  the 
other  on  the  pupil's  shoulder  blades,  in  a  way  similar  to  that  de- 
scribed for  improving  the  position  of  the  arms. 

An  oblique  charge  requires  the  same  method  as  far  as  the  posi- 
tion of  the  back  and  arms  is  concerned.  Insufficient  bend  and 
forward  position  of  the  advanced  knee  of  the  pupil  as  well  as  un- 
duly arched  back  require  a  stronger  forward  and  downward 
pressure  by  the  teacher's  hand  on  pupil's  shoulder  blades,  while 
the  teacher's  knee  presses  the  pupil's  knee  out  into  the  correct 
position.  The  teacher  may  even  find  it  necessary  to  use  his  foot 
in  pushing  the  pupil's  foot  to  the  proper  position. 

The  leaning  forward  so  common  in  knee  bending  may  be  cor- 
rected by  the  teacher  taking  hold  of  the  pupil's  shoulders  (or 
arms)  from  behind  and  pulling  him  backward  against  his  hip 
and  thigh,  then  releasing  his  hold  gradually  as  the  pupil  becomes 
accustomed  to  "leaning  backward"  and  his  sudden,  exaggerated 
efforts  to  steady  himself  are  replaced  by  more  moderate  and  bet- 
ter coordinated  contractions. 

Excessively  hollow  back,  whether  it  is  the  habitual  posture,  or 
is  associated  (as  is  only  too  often  the  case)  with  gymnastic  move- 
ments'and  positions  calling  for  vigorous  contraction  of  the  upper 
back  and  shoulder  blade  muscles,  is  very  difficult  to  correct  by 
any  means  whatever.  The  following  method  has  been  found  help- 
ful when  accompanied  by  admonitions  to  retract  the  abdomen  and 
push  the  hips  forward.  The  teacher,  standing  on  one  side  of  the 
pupil,  places  one  hand  on  the  pupil's  abdomen,  the  other  on  the 
pupil's  sacral  region,  and  his  head  behind  the  pupil's  shoulder 
blades.  By  pressure  and  counter-pressure  at  these  three  points 
the  pupil  may  be  helped  or  gently  forced  into  the  correct  position. 
It  may  be  necessary  at  first  to  ask  the  pupil  to  relax  all  his  back 
muscles.  This  usually  leads  to  a  rounding  of  the  upper  back  and 
a  collapse  of  the  chest  and  shoulders.  But  by  careful  muscular 
efforts  erect  posture  in  the  upper  part  of  the  body  may  be  re- 
gained, while  a  relatively  straightened  position  in  the  lower  back 
is  retained.  If  the  first  attempt  fails,  try  it  again.  By  repeated 
attempts  with  assistance  the  pupil  will  gradually  learn  to  localize 
his  muscular  efforts  to  the  upper  part  of  the  back  and  the  abdomi- 
nal region  and  in  time  be  able  to  assume  the  correct  position  with- 
out assistance. 


7.     RKVIKW  AXD  SUMMARY  OF  METHODS  ADAPTED  TO 
DIFFERENT  TYPES  or  WORK. 

Tn  discussing  the  various  phases  of  teaching  from  a  technical 
standpoint    frequent    reference   has  been    made   to   the   necessary 


REVIEW  AND  SUMMARY  OF  METHODS  75 

modifications  and  variations  of  method  according  to  the  style  of 
work  taught,  the  objects  aimed  at  and  the  conditions  under  which 
the  work  is  carried  on.  With  style  of  work  is  meant  the  general 
character  of  the  exercises,  such  as  their  relative  simplicity  or  com- 
plexity— the  number  and  kind  of  elementary  movements  of  which 
they  are  composed,  the  kind  of  combination,  the  sequence  and 
alternation  of  these  elements — the  amplitude,  speed,  power, 
rhythm,  etc.,  of  the  exercises ;  the  relative  emphasis  on  sustained 
position  or  on  continuity  of  movement. 

While  no  sharp  lines  of  differentiation  can  be  drawn,  it  may 
simplify  discussion  tc^  refer  all  exercises  to  one  of  two  types  :  Non- 
definite  and  definite.  These  terms  are  admittedly  inadequate,  for 
while  retaining  their  ordinary  connotation  they  are  also  used  here 
to  express  a  number  of  differences  in  character  and  quality  of 
gymnastic  exercises.  Such  differences  of  quality  are  often  rela- 
tive and  partial  and  are  not  necessarily  inherent  in  the  exercise. 
The  same  exercise  may  approach  one  style  or  the  other  at  differ- 
ent times  according  to  the  way  it  is  defined  and  executed.  Again 
many  exercises  have  some  characteristics  of  each  kind. 

1.  Exercises  of  the  non-definite  type  are  relatively  complex, 
widely  distributed  movements,  not  readily  capable  of  sharp  defini- 
tion or  standardization ;  their  various  elements  are  so  blended  and 
interdependent  that  the  exercises  cannot  easily  or  to  any  great 
extent  be  divided  into  component  parts  without  destroying  or  at 
least  changing  their  character.  They  are  usually  continuous,  i.e., 
the  movements  are  repeated  in  smooth  or  at  any  rate  immediate 
alternation  and  sequence,  not  separated  by  sustained  positions. 
The  momentum  or  recoil  of  one  movement  gives  the  impetus  for 
the  next,  or  one  movement  begins  before  the  preceding  is  com- 
pleted. Typical  examples  are  walking,  running,  jumping,  throw- 
ing; rocking,  swaying  or  undulating  movements.  Such  exercises 
may  approach  the  dancing  type,  being  then  usually  of  moderate 
range  and  speed,  the  movements  flowing  smoothly  one  into  the 
other.  Or  they  may  be  oscillating  movements — swinging,  thrust- 
ing, revolving  or  circling — of  considerable  amplitude,  speed  and 
power,  such  as  continuous  large  arm  swings  or  circles ;  quick  arm 
bendings  and  stretchings ;  some  forms  of  knee  upward  bendings 
and  leg  flingings;  circumduction  of  trunk,  "chopping,"  "paddling" 
and  similar  mimetic  exercises ;  combined  stooping  and  trunk 
twisting  or  binding  with  or  without  arm  movements,  etc. 

Many  such  movements,  more  or  less  lacking  the  qualities  of 
definiteness,  arc  extremely  useful  and  valuable  exercises.  For  in 
the  first  place  their  complexity  usually  implies  wide  distribution 
of  muscular  work.  If  executed  vigorously  they  represent  large 
total  quantity  of  muscular  contraction  without  too  great  local 
fatigue.  They  are  correspondingly  effective  in  stimulating  the 


76  GYMNASTIC  TEACHING 

circulatory,  respiratory,  digestive  and  excretory  organs  as  well 
as  all  parts  of  the  heat-regulating  mechanism — production  as 
well  as  elimination — with  all  that  this  implies.  The  fact  that  such 
exercises  usually  are  done  with  rhythmic  continuity  emphasizes 
their  general  organic  effects.  If  the  repetitions  are  numerous  and 
little  or  no  rest  is  given  between  the  exercises — as  in  memorized 
drills — there  may  result  considerable  gain  in  endurance.  If  the 
exercises  are  quick  rather  than  powerful,  increased  capacity  for 
speed  of  muscular  action  will  undoubtedly  be  gained.  Nor  can 
any  kind  of  consciously  executed  movement  be  practiced  persist- 
ently without  yielding  some  result  in  the  way  of  subjective  motor 
control.  Many  non-definite  or  semi-indefinite  types  may  be  of 
considerable  value  in  this  respect  by  demanding  frequent  changes 
of  weight  distribution,  by  offering  difficulty  of  balance,  of  se- 
quence and  alternation.  Most  of  their  values,  however,  depend 
on  wide  distribution,  numerous  rhythmic  repetitions  and  conti- 
nuity of  the  muscular  work.  Some  of  them  depend  on  the  fact 
that  practically  every  specified  movement  consciously  performed 
is  at  least  to  some  degree  definite  and  to  that  extent  demands  and 
cultivates  discrimination  and  volitional  motor  control. 

The  methods  and  technique  of  teaching  the  non-definite  type  of 
exercises  are  on  the  whole  comparatively  simple.  The  demon- 
stration and  the  direct  imitation  methods,  or  combinations  of 
these,  are  generally  used.  The  cue  method  can  often  be  used  to 
advantage,  especially  for  the  easier  or  more  familiar  movements. 
In  the  former  case  demonstration  of  the  whole  exercise,  supple- 
mented or  not  with  explanations  and  directions  for  execution  and 
rhythm,  is  followed  by  a  preparatory  "Ready"  or  "All  together" 
and  the  movement  is  started,  either  by  such  a  signal  as  "Begin!" 
"Go!"  "Start!"  "Noiv!"  or  without  any  final  word,  a  movement 
of  some  kind  by  the  teacher,  or  the  beginning  of  the  music,  tak- 
ing its  place.  Whenever  necessary  and  feasible,  complex  exer- 
cises are,  of  course,  divided  as  far  as  possible,  the  component  parts 
practiced  separately,  then  put  together  and  the  whole  executed  as 
a  combined,  compound  or  alternating  movement. 

During  the  progress  of  such  a  rhythmic  movement  the  teacher 
can,  if  he  wishes,  give  supplementary  instruction  and  more  de- 
tailed directions.  These  visually  take  the  form  of  general,  stimu- 
lating admonitions,  exhortation  for  greater  speed,  more  vigor  and 
snap,  faster  rhythm ;  sometimes  they  are  intended  to  produce 
greater  precision  and  better  unison.  They  are  then  occasionally 
in  the  nature  of  criticism  and  correction.  Quite  often,  however, 
the  teacher  merely  marks  the  time  by  counting  and  depends  for 
stimulation  and  suggestion  on  the  tone  of  his  voice,  his  animated 
manner  and  his  example  in  the  vigorous  and  correct  execution  of 
the  exercise. 


77 

After  a  customary  number  of  repetitions,  as  indicated  by  the 
count  or  by  the  music,  the  class  usually  of  its  own  accord  dis- 
continues the  movement.  A  signal  such  as  "Hold!"  or  "Halt!" 
or  "Stop!"  may  or  may  not  be  given  in  place  of  the  last  count. 
Though  not  necessary,  it  is  usually  best  to  do  so.  If  the  teacher 
wishes  further  repetitions  he  may  substitute  the  words  "Again" 
or  "Once  more"  for  the  signal  to  stop,  also  given  in  place  of  the 
last  count  or  two.  Or  he  may  start  the  next  exercise  in  the  same 
way,  by  naming  it,  with  or  without  a  cue,  or  by  a  cue  alone,  pro- 
viding the  class  is  familiar  with  the  exercise.  In  this  way  a  long 
series  of  movements  and  numerous  repetitions  may  be  done  with- 
out any  break  of  continuity,  and  marked  organic  stimulation  may 
be  obtained. 

The  direct  imitation  method  differs  from  the  preceding  not 
only  in  the  presentation  but  also  in  the  starting  of  the  exercise. 
Instead  of  demonstrating  the  exercise  as  a  whole  while  the  class 
is  standing  "at  ease"  and  observing,  trying  to  retain  or  recon- 
struct a  mental  picture  of  the  exercise,  as  in  the  case  of  the  other 
method,  the  class  here  follows  immediately  and  as  closely  as  pos- 
sible each  movement  of  the  teacher.  At  first  there  is  usually  some 
uncertainty  and  not  much  unison,  while  the  rhythm  is  slow  and 
not  very  true.  But  with  each  repetition  there  is  gradual  improve- 
ment in  these  respects,  until  the  movement  is  progressing  smoothly 
with  whatever  rhythm  the  teacher  desires.  In  this  method  music 
is  of  great  assistance  in  securing  unison  and  keeping  the  rhythm. 
It  curtails  the  teacher's  resources  in  other  respects,  however,  espe- 
cially in  the  effective  use  of  his  voice  for  purposes  of  stimulation 
and  coaching.  In  so  far  as  some  (and  perhaps  it  would  be  fair 
to  say  many)  of  the  teacher's  duties  and  opportunities  are  dele- 
gated to  the  music,  it  becomes  necessary  to  see  that  the  right  kind 
of  music  is  furnished,  so  that  the  character  of  the  work  may  be 
what  the  teacher  intends.  This  can  be  done,  but  it  is  not  always 
the  case.  Not  infrequently  the  method  of  teaching,  the  selection 
and  arrangement  of  the  exercises  and  the  character  of  the  music 
are  such  as  to  make  the  work  resemble  dancing.  It  is  then  usually 
intended  mainly  to  furnish  gentle  and  pleasant  exercise,  without 
too  much  stimulation  and  expenditure  of  nervous  energy,  and  un- 
doubtedly serves  this  purpose  very  well.  The  method  is  also 
suitable  for  teaching  young  children. 

2.  The  definite  type  of  e.rcrciscs  and  the  effects  or  values  for 
which  they  are  practiced  have  been  discussed  at  length  in  the 
introductory  chapter.  Briefly  restated,  they  are  clean-cut,  sharply 
defined,  localized  movements,  relatively  simple  or  capable  of  sub- 
division into  simple  elements.  Each  element  usually  employs  the 
full  range  of  one  kind  of  motion  in  one  or  only  a  few  joints  and 
therefore  maximal,  localized  contraction  of  circumscribed  mus- 


78  GYMNASTIC  TEACHING 

cular  groups,  with  corresponding  stretching  of  opposing  muscu- 
lar and  fibrous  structures.  At  the  same  time  large  muscular  areas 
are  kept  in  static  contraction  in  order  to  keep  other  parts  of  the 
body  from  moving.  Thus  there  is  both  localization  and  wide 
distribution  of  muscular  action,  the  apparent  contradiction  im- 
plying that  the  action  is  of  different  kind :  concentric  (shortening) 
in  the  former  case,  static  and  eccentric  (lengthening  while  offer- 
ing resistance)  in  the  latter.  Herein  lies  perhaps  the  chief  dif- 
ference, physiologically,  between  definite  and  non-definite  types 
of  exercises.  In  the  latter  the  muscular  action,  while  widely  dis- 
tributed, is  of  the  same  kind:  large  systems  of  closely  allied  mus- 
cle groups  being  allowed  to  contract  and  shorten  in  accordance 
with  their  natural  or  habitual  modes  of  association,  thus  causing 
moderate  movement  of  many  segments  rather  than  extensive 
movements  of  a  few.  In  the  definite  exercises  the  localization  is 
ahvays  of  such  a  character  as  to  cultivate  mobility  of  a  kind  and 
in  directions  more  or  less  neglected  in  the  ordinary  activities  of 
daily  life.  Similarly  the  muscular  action  is  such  as  to  increase 
localized  muscular  control  everywhere  and  especially  of  those 
muscular  groups  responsible  for  good  posture — the  upper  back 
and  shoulder  blade  muscles,  those  of  the  abdominal  wall  and  the 
hip  joint  extensors.  With  increased  control  of  these  muscular 
groups,  definite  exercises  also  aim  to  increase  their  tone — habitual 
state  of  contraction — as  \vell  as  their  endurance.  At  the  same 
time  such  exercises  aim  to  stretch  and  increase  the  power  of  lo- 
calized relaxation  (if  such  a  term  may  be  permitted)  of  the  op- 
posing muscular  groups — the  upper  chest  and  lower  back  muscles. 
It  is  on  the  ability  to  contract  the  upper  back  and  posterior  scapu- 
lar muscles  without  much  associated  contraction  of  the  lower  back 
muscles  that  good  posture  in  the  upper  part  of  the  body,  without 
excessive  "hollow  back,"  depends.  This  is  true  both  in  the  prac- 
tice of  gymnastic  exercises  and  in  habitual  carriage  while  sit- 
ting, standing,  walking  or  moving  about  in  a  natural  way.  In 
the  latter  case  good  posture  is  maintained  by  the  "tone"  of  the 
upper  back  and  abdominal  muscles,  in  the  former  by  conscious 
contraction  of  these  groups  supplemented  by  the  hip  joint  exten- 
sors. 

By  their  careful  selection  and  definition,  their  localized  charac- 
ter, their  completeness  of  range  in  movements  and  their  sustained 
muscular  action — local  as  well  as  general — while  positions  are 
being  held,  definite  gymnastic  exercises  aim  to  cultivate  the  pos- 
ture sense  and  the  kinesthetic  sense  generally,  to  increase  the 
power  of  equilibrium,  to  train  habits  of  correct  weight  distribu- 
tion, of  quick  and  accurate  motor  reactions — in  short,  subjective 
motor  control  and  efficient  motor  habits. 

Methods  of  teaching  definite  exercises.     The  presentation  may 


REVIEW  AND  SUMMARY  OF  METHODS  79 

vary  between  the  extremes  of  the  most  elaborate,  complete  and 
even  repeated  demonstration  accompanied  by  detailed  explanation, 
comment,  suggestion,  warnings,  etc.,  on  one  hand,  and  the  mere 
naming  of  the  movement  in  the  preparatory  signal,  with  or  with- 
out a  cue,  on  the  other.  The  degree  of  explicitness  will  depend 
on  the  age,  intelligence  and  active  attention  of  the  pupils,  on  their 
familiarity  with  the  work  in  general  and  with  the  particular  ex- 
ercise, as  well  as  on  the  difficulty  of  that  exercise.  It  will  also 
vary  with  the  teacher's  ability,  or  the  lack  of  it,  to  give  effective 
supplementary  instruction  in  the  form  of  admonitions,  stimula- 
tion, general  and  individual  coaching  after  the  movement  is  in 
progress  or  while  positions  are  being  held.  The  teacher's  judg- 
ment is  the  principal  determining  factor  in  this  respect  and  this, 
too,  will  vary  with  his  temperament,  experience  and  even  mo- 
mentary inclination.  It  is  always  wise  to  make  the  presentation 
as  brief  as  possible  consistent  with  clearness,  and  rely  for  good 
execution  on  supplementary  directions  and  stimulation  after  start- 
ing the  exercise. 

To  facilitate  presentation  and  at  the  same  time  obtain  the  great- 
est measure  of  definiteness  of  execution  of  complex  or  difficult 
exercises,  it  is  often  advisable  to  prepare  for  rhythmic  repetition 
by  having  the  class  do  each  part  on  signal  at  least  once  and  hold 
the  position  reached  a  varying  length  of  time.  Either  of  the  two 
forms  of  descriptive  signals  may  be  used — the  imperative  for  each 
part  of  the  exercise,  or  the  present  participle  as  preparatory  sig- 
nal for  the  exercise  as  a  whole  and  the  numerals  as  final  words  for 
the  respective  parts.  The  latter  is  usually  preferable. 

When  an  exercise  is  done  only  as  a  response  movement,  it 
should  not  be  repeated  more  than  two  or  three  times  on  each 
side,  if  the  teacher  is  wise.  The  position  is  then  emphasized 
rather  than  the  movement.  .This  gives  ample  opportunity  for  cor- 
rection, admonition  and  stimulation.  It  is  preeminently  suited 
for,  and  effective  in,  posture  training,  and  to  bring  out  quick  and 
accurate  motor  response.  This  method  and  its  technique  have 
been  brought  to  a  high  state  of  perfection  in  Swedish  gymnastics, 
and  when  skillfully  applied  undoubtedly  accomplish  in  a  most 
effective  manner  most  of  the  objects  for  which  gymnastic  work 
stands.  When  unskill fully  applied,  however,  there  is  apt  to  be  a 
lack  of  continuity,  owing  partly  to  unduly  prolonged  maintenance 
of  position,  partly  to  too  lengthy  and  too  frequently  repeated  de- 
scriptive "commands."  Also  there  is  an  element  of  uncertainty,  of 
high  nervous  tension,  in  such  response  work,  which,  while  it  may 
stimulate  at  first,  may,  if  long  continued,  lead  to  nervous  fatigue 
and  defeat  its  own  object  by  causing  listlessness.  This  means 
poor  response  and  lack  of  vigor  in  movement  or  position,  or  what 
is  really  a  manifestation  of  the  same  thing,  anticipation  of  the 


80  GYMNASTIC  TEACHING 

signal  by  many  members  of  the  class  with  resultant  loss  of  snap 
and  unison.  Such  anticipations,  as  has  already  been  pointed  out 
in  discussing  gymnastic  signals,  occur  if  the  repetitions  are  nu- 
merous and  follow  each  other  at  uniform  intervals,  approaching 
a  rhythm.  Finally,  most  people  have  an  elemental,  instinctive 
appreciation  of  and  desire  for  rhythmic  movement.  This  is 
partly  responsible  for  the  tendency  of  all  classes  to  get  ahead  of 
the  signal  when  movements  are  repeated  many  times.  The  lack 
of  opportunity  to  satisfy  this  instinct  makes  the  execution  of  ex- 
ercises on  signal  throughout  a  lesson  seem  tedious  to  many  people. 
F*or  these  reasons  many  teachers  arrange  their  lessons  in  such  a 
way  that  in  one  part  the  exercises  are  of  the  definite,  localized,  so- 
called  "corrective"  type,  done  on  signal ;  while  in  the  other  parts 
of  the  lesson  non-definite,  complex,  rhythmic  exercises  are  given, 
in  which  there  is  more  continuity  of  movement,  wider  distribution 
of  muscular  action,  no  distinct  holding  of  position  and  less  atten- 
tion paid  to  posture  or  other  details. 

Rhythm  and  definiteness.  Now,  if  this  element  of  definiteness 
is  essential  for  effectiveness  in  certain  directions,  and  rhythmic 
continuity  for  effectiveness  in  other  directions,  why  may  not  these 
features  be  combined  and  both  kinds  of  effects  be  obtained  to  a 
high  and  approximately  equal  degree  from  a  majority  of  the  ex- 
ercises in  the  lesson?  Why  may  not  the  bulk  of  the  material  be 
so  selected,  arranged  and  taught,  that  either  feature  may  be  em- 
phasized at  various  times,  or  both  may  be  attained  at  the  same 
time  in  a  measure  sufficient  to  insure  the  effectiveness  of  each? 
This  would  remove  most  of  the  objections  to  or  shortcomings  of 
either  style  of  work  and  satisfy  all  demands.  It  would  give 
greater  elasticity  or  latitude  in  efforts  to  adapt  the  work  to  vary- 
ing conditions  and  groups. 

With  careful  planning  and  proper  methods  of  teaching,  skill- 
fully applied,  gymnastic  material  can  be  managed  in  a  way  to  do 
all  this.  It  is  possible,  for  example,  to  arrange  a  series  of  lessons 
at  the  beginning  of  which  all  the  exercises  are  of  the  less  definite, 
wholly  rhythmic  type,  not  calling  for  the  utmost  exactness  in  exe- 
cution nor  sustained  positions,  but  having  sufficient  "swing  and 
go"  to  interest  a  class  at  once  and  to  produce  the  organic  effects 
and  the  exhilaration  of  vigorous  exercise  that  all  classes  appre- 
ciate. The  element  of  definiteness  is  then  introduced  gradually 
by  modifying  the  exercises  originally  used  so  that  they  can  be 
sub-divided  and  practiced  with  more  accuracy  of  detail.  Or  sim- 
pler types  may  be  substituted  from  time  to  time,  until,  at  the  other 
end  of  the  series,  the  majority  of  the  exercises  are  capable  of 
execution  on  signal  or  in  rhythm  as  might  be  desired.  This  tran- 
sition can  be  made  so  gradual  that  at  no  time  need  there  be  any 
more  loss  of  continuity  than  might  naturally  be  expected  in  teach- 


REVIEW  AND  SUMMARY  OF  METHODS  81 

ing  any  new  exercises,  even  those  of  purely  rhythmic  and  non- 
definite  character.  At  all  times  the  majority  of  the  exercises  are 
repeated  in  rhythm;  but  the  character  of  the  rhythm  and  of  the 
execution  of  the  rhythmic  movements  will  change.  Instead  of 
more  or  less  even,  uniform  rhythm  and  blended  or  oscillating 
movements  there  will  be  many  kinds  of  rhythm.  The  movements 
may  all  be  quick  and  yet  the  rhythm  be  slow,  if  the  pauses  between 
the  movements  are  long,  as  for  example  in  the  arm  bendings  and 
stretchings,  trunk  twistings,  leg  flingings,  charges,  etc.  Or  both 
movements  and  rhythm  may  be  slow,  as  in  trunk  bendings,  arm 
raisings,  slow  heel  raising  and  knee  bending.  Again,  the  pauses 
between  movements  may  be  varied — one  long,  the  other  short,  as 
in  arm  bending  and  stretching;  or  all  different,  as  in  one  form 
of  heel  raising  and  knee  bending.  Or  successive  parts  of  an  alter- 
nating or  a  compound  movement  may  be  done  with  different 
speed,  the  first  two  quick,  the  second  two  slow,  or  vice  versa ;  or 
the  first  and  last  quick,  second  and  third  slow  and  so  on.  In  all 
cases  where  the  speed  of  or  the  length  of  pause  between  succes- 
sive parts  of  a  movement  varies,  the  rhythm  will,  of  course,  be 
uneven.  Most  of  the  movements  will  be  distinct  from  each  other, 
punctuated,  as  it  were,  by  positions.  Such  progression  from  the 
less  definite  to  the  more  definite  style  of  work  is  suitable  for 
classes  of  children,  or  of  adolescents  and  adults  who  are  unfa- 
miliar with  the  work.  It  is  the  most  natural  mode  of  progression. 
The  reverse  order,  starting  with  the  simplest  types  of  definite 
movements,  done  on  signal,  and  demanding  from  the  outset  great 
attention  to  detail,  then  gradually  introducing  the  rhythmic  princi- 
ple and  more  complexity,  but  without  any  loss  in  definiteness,  is 
possible  but  generally  undesirable.  For  classes  of  adolescents  or 
adults  whose  intelligent  cooperation  and  interest  can  be  secured, 
by  one  means  or  another,  from  the  beginning,  or  who  have  had 
adequate  previous  training,  as  for  example,  upper  elementary, 
high  school  and  college  students,  the  work  can  be  made  more  defi- 
nite at  the  outset  and  progress  more  rapidly  in  this  respect.  But 
the  bulk  of  the  work  should  be  done  in  rhythm  throughout. 

How  to  combine  definiteness  of  execution  with  rhythmic  conti- 
nuity is  primarily  a  question  of  skillful  teaching.  But  it  is  also 
a  matter  of  choice,  definition  and  combination  of  movements,  as 
well  as  careful  progression.  It  means  that  the  majority  of  the 
exercises  will  be  such  as  are  capable  of  at  least  some  degree  of 
sub-division,  or  are  built  up  of  simple  elements  into  various  alter- 
nations and  sequences.  Each  part  can  then  be  practiced  separately 
on  signal  as  much  as  is  desirable  in  order  to  obtain  correct  exe- 
cution and  quick  response.  But  most  of  the  repetitions  should  be 
made  in  rhythm,  while  familiar  movements  may  be  started 
rhythmically  at  the  outset.  Thus  sufficient  total  quantity  and 


82  GYMNASTIC  TEACHING 

continuity  of  muscular  work  with  commensurate  organic  stimu- 
lation can  be  secured.  During  this  rhythmic  repetition  there  is 
apt  to  be  some  loss  of  definiteness.  But  with  the  right  spirit  of  en- 
thusiasm, energy  and  perseverance  on  the  part  of  the  teacher,  by 
his  constant  attention  to  details,  his  insistence  on  correct  execu- 
tion and  momentary  retention  of  positions,  coupled  with  judicious 
choice  and  progression,  the  two  principles — rhythm  and  definite- 
ness — may  be  harmonized  and  the  maximum  values  represented 
by  each  obtained  simultaneously. 

^C  #  *  #  jf  # 

Having  in  the  previous  chapters  discussed  at  some  length  the 
various  phases  of  teaching,  the  remaining  chapters  will  be  de- 
voted to  a  consideration  of  principles  of  selection  and  classifica- 
tion of  exercises,  definition  and  combination  of  movements,  ar- 
rangement of  lessons  and  progression. 


IV.     SUBJECT  MATTER. 


1.     AIMS  AND  POTENTIAL  VALUES  OF  GYMNASTICS. 

As  a  basis  for  the  discussion  of  tlie  content  and  character  of 
gymnastic  lessons  a  consideration  of  the  aims,  purposes  and  ef- 
fects of  the  work  would  seem  in  place.  While  there  is  now  no 
great  diversity  of  opinion  as  to  the  principal  objects  aimed  at  and 
the  potential  values  represented  by  gymnastic  work,  there  still 
exists  some  confusion  and  misconception,  at  least  in  the  minds  of 
the  laity,  regarding  what  constitutes  rational  gymnastics  and  what 
results  may  or  may  not  be  accomplished  by  the  work. 

It  is  unfortunately  true  that  at  present  gymnastic  work  suffers 
from  the  extravagant  claims  made  for  it  by  some  of  its  earlier 
enthusiastic  advocates  in  this  country,  and  from  the  limitations 
imposed  by  loyalty  to  traditional,  more  or  less  empirical  concep- 
tions and  methods.  It  is  often  placed  in  a  false  position  and  made 
to  appear  at  a  disadvantage  by  superficial  and  specious  compari- 
son with  dancing,  play,  games  and  athletics,  and  by  being  classed 
indiscriminately  with  these  in  general  and  cursory  discussions  of 
the  values  of  physical  education.  Again,  the  reactive  effect  of 
excessive  claims  on  the  one  hand,  and  all  too  numerous  examples 
of  poor  teaching  and  poor  work  on  the  other,  have  led  some  sin- 
cere and  thoughtful  exponents  of  physical  education  to  relegate 
gymnastics  to  the  role  of  a  mere  therapeutic  agent,  to  be  used  only 
in  cases  requiring  correction  of  faulty  anatomical  relations,  de- 
velopmental defects,  etc.  By  implication  or  direct  statement  it 
has  even  been  denied  that  the  work  has  much,  or  any,  educational 
value,  or  that  it  is  capable  of  supplying  the  need  for  general  ex- 
ercise in  an  adequate  and  interesting  manner. 

That  there  are  numerous  instances  of  work  carried  on  in  a  way 
to  justify  views  like  these  is  undoubtedly  true.  There  may  also 
be  found  examples  of  work  which  fails  to  accomplish  even  the  so- 
called  corrective  purpose.  Perhaps  this  is  more  often  the  case  than 
not.  But  such  extreme  depreciation  of  gymnastic  work  is  un- 
warranted and  exceptional.  That  it  has  a  place,  and  an  important 
one,  both  as  a  hygienic  agent  and  as  a  positive  factor  in  education, 
is  recognized  by  the  vast  majority  of  leaders  in  physical  education 
as  well  as  by  an  increasing  number  of  men  and  women  identified 
with  efforts  to  advance  the  scope  and  effectiveness  of  education 
in  all  its  phases. 


84  GYMNASTIC  TEACHING 

(1)      The  hygienic  aim  of  gymnastics. 

This  is  to  furnish  muscular  exercise  of  an  all-round  character, 
sufficient  in  quantity,  continuity  and  vigor  to  promote  a  lively 
tissue  metabolism  and  thereby  to  insure  a  marked  organic  reac- 
tion. In  the  brief  period  usually  allotted  to  a  gymnastic  lesson 
this  organic  stimulation  must  necessarily  be  as  powerful  as  is 
consistent  with  safety,  in  order  to  produce  lasting  and  permanent 
effects.  The  work  must,  therefore,  be  intense  enough  to  cause 
immediate  and  progressive  increase  of  heart  action,  with  accom- 
panying acceleration  of  the  whole  circulation ;  rise  of  arterial 
pressure;  relief  of  venous  and  lymph  stasis  everywhere,  and  espe- 
cially in  the  body  cavities  and  internal  organs ;  flushing  and 
heightened  activity  of  the  sjdn ;  deeper  and  more  rapid  ventilation 
of  the  lungs ;  vigorous  stimulation  of  the  abdominal  organs. 

All  these  immediate  organic  reactions  are  brought  about  in  two 
ways:  (1)  By  the  mechanical  effects  of  the  exercised — the  pump- 
ing action  exerted  on  the  venous  and  lymphatic  circulation  by  al- 
ternate contraction  and  relaxation  of  muscles,  by  movements  in 
joints  and  by  increased  thoracic  aspiration ;  increased  peristalsis 
and  more  vigorous  action  of  the  glandular  organs,  induced  by 
greater  variations  of  intra-abdominal  pressure  consequent  on 
more  extensive  action  of  the  diaphragm  ,and  abdominal  muscles, 
as  well  as  the  shaking  and  mutual  massage  of  the  abdominal  or- 
gans. (2)  By  the  adjusting  influence  of  the  central  and  sympa- 
thetic nervous  systems  in  response  to  direct  or  reflex  stimulation 
by  the  products  of  muscular  activity.  When  these  organic  effects 
are  obtained  in  a  moderately  high  but  not  excessive  degree 
through  the  execution  of  exercises  in  a  well-planned  and  skillfully 
conducted  gymnastic  lesson,  they  are  accompanied  and  followed 
by  a  sense  of  exhilaration  and  physical  well-being  as  enjoyable 
and  refreshing  as  they  would  be  if  produced  by  any  other  form 
of  bodily  activity.  The  frequent  and  regular  repetition  of  such 
exercise  is  bound  to  increase  the  functional  efficiency  of  all  the 
organs,  to  favor  all  the  processes  which  make  for  health,  vitality 
and  organic  vigor.  That  such  is  the  case  is  abundantly  attested  to 
by  observations  of  teachers  and  medical  directors  in  school,  col- 
lege and  especially  in  Y.  M.  C.  A.  gymnasia. 

('2)      The  educational  aim  of  gymnastics. 

This  is  primarily  the  training  of  subjective  motor  control  and 
incidentally  of  attention,  will  and  self-discipline.  Such  control  is 
shown  on  the  one  hand  in  ability  to  assume  and  maintain  good 
posture,  in  erect  carriage,  ease  of  bearing,  grace  and  economy  of 
ordinary  movement ;  on  the  other,  it  leads  to  general  agility,  abil- 


AIMS  AND  POTENTIAL  VALUES  85 

ity  to  manage  one's  body  to  best  advantage  under  any  circum- 
stances— in  short,  to  have  one's  body  well  in  hand  for  any  purpose 
whatever. 

Objective  and  subjective  motor  training*  The  formal  educa- 
tional process  is  preceded  by  and  based  on  the  informal  and  more 
or  less  spontaneous,  self-directed  psycho-motor  training  of  the 
earliest  years  of  life.  During  the  first  years  of  school  life  the 
further  training  in  motor  control  receives  some  attention.  But 
the  guidance  offered  is  directed  mainly  to  the  development  of  the 
accessory  neuro-muscular  mechanisms  and  their  coordinations. 
As  regards  the  larger,  fundamental  movements,  and  the  further 
cultivation  of  their  coordinations  and  adaptations,  the  child  is 
often  left  to  his  own  devices.  It  is  assumed  that  he  will  get  suf- 
ficient training  in  this  direction  through  spontaneous  play  and 
games.  And  to  a  certain  extent  he  does.  But  here  he  is  likely  to 
follo>v  trends  and  habits  already  acquired,  to  be  restricted  by 
these  and  by  correlated  structural  peculiarities.  Unless  the  activ- 
ities are  abundant  and  infinitely  varied  in  character,  the  number 
and  delicacy  of  coordinations  so  acquired  will  be  limited,  and  his 
range  of  motor  adaptation,  outside  the  habitual  activities,  will  be 
equally  restricted.  Supervision  and  guidance  of  play  and  games 
from  kindergarten  to  playground  represent  efforts  to  widen  the 
scope  and  increase  the  effectiveness  of  this  kind  of  motor  train- 
ing. Under  ideal  conditions  (such  as  probably  never  will  be 
realized)  it  is  conceivable  that  such  training  might  be  made  ade- 
quate for  all  purposes.  But  at  best  school  life  will  always  repre- 
sent a  relatively  large  proportion  of  time  spent  in  sedentary  work, 
with  its  unfavorable  effect  on  posture  and  its  tendency  to  deficient 
or  faulty  development  of  the  motor  organs. 

Furthermore,  the  motor  control  resulting  from  play  and  games 
is  largely  objective,  unconscious ;  it  makes  use  mainly  of  already 
acquired,  reflex  coordinations,  following  lines  of  least  resistance, 
and  does  not  tend  to  great  diversification,  except  in  so  far  as  the 
activities  are  diverse.  It  is  true  that  such  activities,  when  numer- 
ous and  varied  enough,  cultivate  the  kind  of  bodily  control  which 
relates  the  individual  to  external  things,  and  especially  to  moving 
objects;  that  they  train  the  ability  to  judge  distance,  speed  and 
momentum,  and  to  gauge  correctly  the  muscular  efforts  with  ref- 
erence to  these,  and  so  may  result  in  a  fair  degree  of  general 
agility.  This  may  be  called  applied  or  objective  motor  training 
and  is  of  direct  practical  value  as  an  element  of  objective  physical 
efficiency.  The  values  in  social  and  moral  ideas  and  habits  of 
thought  associated  with  and  accruing  from  this  kind  of  training 
are,  of  course,  of  overshadowing  importance  and  would  alone 

*For  a  further  discussion  of  this  subject  see  introductory  part  of  "Gymnastic  Kinesi- 
oloay,"  by  \Vm.  Skurstrom. 


86  GYMNASTIC  TEACHING 

justify  giving  such  activities  a  prominent  place  in  any  thorough- 
going Scheme  of  education. 

Efficiency  in  activities  of  this  objective  character  is  dependent 
on  and  in  turn  will  tend  to  increase  the  amount  of  purely  subjec- 
tive motor  control.  With  this  is  meant  the  ability  to  manage  to 
best  advantage  the  parts  of  the  body  with  reference  to  each  other 
and  the  body  as  a  whole  with  reference  chiefly  to  space,  gravity, 
momentum  and  balance.  The  degree  of  such  subjective  control 
may  be  said  to  represent  the  individual's  potential  power  of  motor 
adaptation,  and  is  applicable  to  any  form  of  activity  with  which 
it  has  elements  in  common.  It  expresses  itself  in  the  individual's 
general  bearing,  posture  and  habits  of  movement.  Ease,  poise, 
grace,  agility  and  their  opposites  are  terms  denoting  relative  de- 
grees of  subjective  control  or  the  lack  of  it. 

For  this  purely  subjective  training,  gymnastics  and  dancing  are 
particularly  effective.  They  are  both  subjective  forms  of  activity. 
They  both  require  conscious  attention  to  the  movements  and  the 
posture  of  the  body  as  a  whole  or  its  parts.'  In  each  the  move- 
ments are  predetermined  and  their  execution  represents  efforts  to 
conform  to  more  or  less  clearly  defined  standards.  The  move- 
ments are  artificial  in  the  sense  that  there  is  no  immediate  objec- 
tive application.  In  gymnastics,  especially,  they  are  often  more 
extreme  in  range  or  more  localized  and  sharply  defined  than  would 
be  called  for  in  ordinary  activities,  but  not  more  so  than  might 
at  some  time  be  called  for  and  applied  to  the  accomplishment  of 
some  objective  purpose.  In  this  predetermined,  clearly  defined 
character,  this  definiteness  of  gymnastic  work,  lies  its  distinctive 
effectiveness  as  a  means  of  subjective  motor  training.  It  makes 
possible  the  cultivation,  in  a  systematic  manner,  of  the  latent,  po- 
tential powers  of  coordination  which  might  otherwise  remain  dor- 
mant ;  the  opening  up  of  new  paths  of  motor  association ;  the  per- 
fecting of  existing  but  vague  and  uncertain  coordinations  until 
they  become  assured,  well  adjusted,  requiring  less  and  less  con- 
scious attention  and  are  finally  automatic.  A  good  illustration  of 
these  processes  is  the  acquiring  of  ability  to  land  lightly,  with  sure 
balance  and  good  fundamental  position,  in  jumps,  vaults  and  dis- 
mounts from  gymnastic  apparatus,  under 'a  great  variety  of  con- 
ditions as  regards  height,  amount  and  direction  of  momentum, 
position  and  movement  of  the  body  in  the  air,  etc. 

The  ability  to  assume  and  maintain  good  posture  is  really  a 
phase  of  the  general  subjective  motor  control  aimed  at  by  rational 
gymnastics.  Erect  carriage,  easy  poise  and  fine  bearing,  when 
habitual,  signify  perfect  adjustment,  weight  distribution  and  bal- 
ance of  the  different  parts  of  the  body.  They  represent  economi- 
cal distribution  of  muscular  tension,  a  high  degree  and  even  bal- 
ance of  muscular  tone,  equali/.ed  pressure  on  the  surfaces  of 


AIMS  AND  POTENTIAL  VALUES  87 

joints  and  minimum  tension  on  their  fibrous  structures.  All  this 
implies  readiness  for  all  kinds  of  action,  elimination  of  unneces- 
sary strain,  conservation  of  energy.  Good  posture  also  means  the 
most  favorable  conditions  for  the  internal  organs  as  regards 
room,  free  circulation,  relative  position  and  natural  support.  Thus 
it  makes  for  health  and  efficiency,  as  well  as  beauty  and  harmony. 

The  degree  of  erect  posture  and  well-balanced  poise  attained 
by  an  individual  will  vary  with  his  natural  endowment  (inherited 
tendencies),  the  number,  kind  and  diversity  of  activities  in  which 
he  engages,  and  the  habits  he  forms  or  is  led  to  form  during  the 
first  fifteen  or  twenty  years  of  his  life.  In  perhaps  the  majority 
of  cases,  where  little  or  no  attention  is  given  to  the  matter,  the 
individual  falls  far  too  short  of  his  possibilities  in  this  respect, 
as  well  as  in  the  matter  of  general  motor  efficiency — subjective 
and  objective.  That  such  discrepancy  between  the  potential  and 
the  actual  may  not  be  due  entirely  to  insufficient  quantity  or  va- 
riety of  bodily  activity  in  early  life  (though  that  is  probably  the 
chief  cause)  is  suggested  by  numerous  instances  of  young  men 
who  have  engaged  freely  in  various  games  and  sports  from  child- 
hood, and  who  yet,  in  their  carriage  and  subjective  motor  habits, 
seem  to  be  in  need  of  considerable  further  training. 

We  are  accustomed  to  think  of  certain  primitive  peoples,  like 
the  Indians  before  they  were  touched  by  civilization,  as  naturally 
endowed  with  erect  carriage  and  fine  bearing,  this  being  a  racial 
trait,  associated  with  and  the  result  of  a  free  and  active  outdoor 
life.  But  while  this  may  have  been  true  to  a  certain  extent,  it  was 
also  the  result  of  conscious  effort  and  training  associated  with 
their  ideals  of  manly  qualities,  of  bodily  prowess  and  beauty,  and 
of  a  proper  pride  and  dignity  of  character.  So  also  with  the 
Bedouin  nomads  of  the  Arabian  deserts,  noted  for  their  superb 
carriage,  dignified  bearing  and  grace  of  movement.  According 
to  the  accounts  of  travelers,  their  children  are  really  educated  to 
this  by  parental  precept,  admonition,  reproof  and  suggestion. 

One  of  the  aims  of  gymnastics,  then,  should  be  to  emphasize 
posture  training  throughout.  Every  exercise  should  be  selected, 
defined  and  executed  in  a  way  to  further  this  aim,  directly  or  in- 
directly. And  not  as  a  corrective  for  faulty  posture,  whether  in 
the  lower  or  upper  part  of  the  body.  But  rather  the  ideal  of  cor- 
rect execution  of  all  exercises,  of  efficiency  and  grace  of  all  move- 
ment, should  include  the  maintenance  of  the  best  possible  posture, 
no  matter  what  the  difficulty,  magnitude,  speed  or  power  of  the 
movement.  Any  exercise  incompatible  with  good  posture  should 
be  discarded.  In  some  exercises  the  element  of  posture  is  empha- 
sized by  so  defining  the  movements  as  to  demand  supreme  efforts 
in  the  direction  of  correct  posture,  or  by  introducing  difficulties 


88  GYMNASTIC  TEACHING 

making  such  extreme  efforts  necessary  in  order  not  to  lose  correct 
posture. 

Equalization  of  growth  and  development  may  also  be  con- 
sidered a  legitimate  aim  of  gymnastics,  closely  associated  with 
posture  training.  The  exercises  selected  and  defined  with  a  view 
to  their  effectiveness  as  a  means  of  postural  and  general  subjec- 
tive motor  training  will  also  exert  the  most  favorable  influence  on 
growth  and  be  conducive  to  a  harmonious  muscular  development. 
When  necessary  these  should  be  supplemented  by  special  exercises 
of  a  more  powerful  and  localized  character. 

The  acquisition  of  useful  forms  of  agility.  The  attainment  of 
proficiency  in  primitive  forms  of  bodily  prowess,  such  as  various 
kinds  of  leaping,  vaulting  and  climbing,  is  one  of  the  practical 
results  of  the  subjective  training  aimed  at  by  gymnastics.  Speed 
and  endurance  in  running  may  also  be  included  in  this  category. 
A  moderate  proficiency  in  such  matters  may  be  needed  urgently 
from  time  to  time  even  under  the  sheltered  and  comfortable  condi- 
tions of  modern,  civilized  life.  At  any  rate,  it  gives  the  possessor 
a  sense  of  confidence  and  assurance  of  being  able  to  take  care  of 
himself  in  ordinary  emergencies  or  mishaps. 

In  the  matter  of  mental,  moral  and  social  training  gymnastic 
work  is  probably  inferior  to  games  or  athletics.  But  while  the 
excessive  claims  made  for  it  in  this  respect  have  not  been  borne 
out  by  experience,  the  work  may  not  be  devoid  of  value  in  its  in- 
fluence on  the  individual's  mental  life  and  his  character.  The  exe- 
cution of  precise  and  vigorous  movements,  whether  in  response 
to  a  signal,  or  timed  exactly  to  conform  to  a  given  rhythm  and  to 
be  in  unison  with  the  movements  of  the  other  members  of  the 
class,  requires  concentrated  attention,  discriminating  and  often 
supreme  effort.  Aside  from  the  mental  processes  involved  in  re- 
lating kinesthetic  sense  perceptions  and  their  associated  motor 
ideas  to  volitionally  coordinated  movements,  and  the  purely  motor 
training  this  represents,  such  work  cannot  but  make  for  improved 
habits  of  attention  and  strengthened  will  power,  while  self-control 
and  a  spirit  of  cooperation  are  cultivated  through  the  appreciation 
of  the  beauty  and  power  of  orderly  and  disciplined  group  action. 

The  individual's  realization  of  the  benefits  received  from  a  con- 
scientious performance  of  the  work  might  reasonably  be  expected 
to  lead  to  the  formation  of  wholesome  habits  of  life.  Having  once 
experienced  the  satisfaction  and  sense  of  well-being,  of  power 
and  efficiency,  associated  with  regular,  systematic,  rational  exer- 
cise, he  is  more  likely  to  treat  his  body  with  due  respect,  to  heed 
its  laws  and  recognize  its  possibilities  as  well  as  its  limitations. 
The  influence  of  this  kind  of  self-respect  on  the  individual's  whole 
life  and  character  is  not  to  be  underrated. 


AIMS  AND  POTENTIAL  VALUES  89 

(3)      Gymnastics  as  recreation. 

While  the  hygienic  and  educational  values  are  dependent  on 
the  personality,  zeal  and  skill  of  the  teacher  as  well  as  on  the 
character  of  the  work,  this  is  true  in  an  even  greater  degree  as 
regards  the  immediate  enjoyment  and  interest  in  the  work.  Al- 
though gymnastics  should  never  be  placed  in  the  false  position  of 
furnishing  entertainment  and  amusement,  or  be  made  to  take  the 
place  of  play  and  recreation,  there  is  no  reason  why  a  skillful  and 
enthusiastic  teacher  cannot  make  the  work  (and  it  is  always  real 
work,  if  it  is  to  amount  to  anything)  interesting  and  enjoyable. 
He  may  do  this  partly  by  suggestion,  by  making  his  own  anima- 
tion, earnestness  and  enthusiasm  contagious,  partly  by  adapting 
the  work  and  his  style  of  teaching  to  the  varied  and  changing  in- 
terests of  his  pupils. 

With  classes  of  young  children  the  work  may  be  presented  and 
carried  on  in  a  spirit  of  play  and  make-believe,  enlisting  their 
imagination  and  their  natural  desire  to  express  their  ideas  in 
terms  of  representation  movements.  This  no  doubt  is  fun  to 
them.  But  after  the  age  of  twelve  or  thereabouts  gymnastic  work 
cannot  be  expected  to  appeal  directly  to  the  pupils  as  fun.  But  it 
may  be  made  increasingly  interesting  in  so  far  as  it  cultivates  and 
gives  expression  to  group  consciousness  through  strong  and  well- 
adjusted  group  action.  Indirectly,  also,  as  means  to  an  end,  and  to 
a  certain  extent  through  the  spirit  of  emulation  which  the  teacher 
may  legitimately  arouse,  interest  in  the  work  may  be  sustained  and 
increased.  And,  at  all  times,  when  properly  conducted,  there  is 
the  pleasure  and  satisfaction  of  vigorous  action,  the  inspiration 
of  doing  something  worth  while  and  doing  it  as  well  as  possible, 
in  unison  and  cooperation  with  others,  and  with  the  knowledge 
that  it  will  result  in  immediate  and  permanent  benefit.  Only  in 
this  sense  can  gymnastic  work  be  considered  recreation.  And  that 
it  is  so  considered  by  large  numbers  is  indicated  by  the  enthusi- 
astic and  unflagging  interest  maintained  in  the  optional  classes  of 
the  Y.  M.  C.  A.,  Y.  W.  C.  A.,  Turnverein,  Settlement  and  Munici- 
pal gymnasia  all  over  the  country. 

(4)      Adaptation  of  aims  to  conditions. 

The  emphasis  given  to  any  of  these  aims  and  values,  and  there- 
fore the  character  of  the  work,  will  vary  with  the  age,  sex.  ability, 
state  of  training  and  physical  condition  of  any  given  group  of  pu- 
pils. It  will  also  depend  on  the  mental  attitude  toward  the  work 
shown  not  only  by  pupils  but  by  responsible  authorities.  Finally, 
the  work  and  its  aims  must  be  in  accord  with  the  general  purpose 


90  GYMNASTIC  TEACHING 

and  fit  in  with  the  other  activities  of  the  institution  in  which  it 
is  carried  on. 

1.  In  educational  institutions  the  responsibility  of  the  school 
(or  college)  to  see  that  no  ill  effect  is  produced  by  its  curriculum 
on  the  health  and  development  of  the  pupils  must  be  recognized. 
This   implies   the   necessity   to   counteract   the   unfavorable   ten- 
dencies of  school  life — its  effects  on  general  metabolism,  on  the 
abdominal  and  thoracic  organs  and  on  the  spine — inevitably  asso- 
ciated  with  sedentary,  indoor  occupation.     Besides  attention  to 
hygienic  conditions  in  the  matter  of  ventilation,  light  and  seating, 
as  well  as  the  most  favorable  distribution  of  school  work,  this 
more  or  less  negative  aim  is  to  be  accomplished  by  giving  the  pu- 
pils frequent  short  periods  of  exercise  in  the  form  of  gymnastics, 
plays  and  games.  The  gymnastic  work  of  such  brief  relief  periods 
should  aim  to  bring  out  as  strong  organic  and  postural  toning  up 
as  possible  in  the  short  time. 

In  addition  to  counteracting  the  unfavorable  tendencies  asso- 
ciated with  the  sedentary  character  of  school  life,  the  school  is 
responsible  for  such  psycho-motor  training  as  the  individual  needs 
in  order  to  be»  able  consciously  to  control  his  own  body.  The 
training  of  such  subjective  control,  in  which  posture  training 
should  always  be  a  large  element,  is,  therefore,  to  be  emphasized 
in  the  gymnastic  work  of  the  regular  school  period  devoted  to 
physical  education.  It  is  best  accomplished  by  exercises  of  defi- 
nite character,  representing  the  simpler  elements  of  movement  out 
of  which  are  composed  the  more  complex  movements  of  ordinary 
activities,  as  well  as  of  dances,  games  and  athletics.  But  while 
emphasizing  the  educational  aspects  of  the  work,  it  should  be  con- 
ducted in  such  a  way  as  to  produce  the  greatest  possible  hygienic 
effects  at  the  same  time.  In  the  successful  combination  and  ac- 
complishment of  these  aims  lies  the  opportunity  of  the  skillful 
teacher  to  make  the  work  appreciated,  interesting  and  enjoyable. 

2.  In    non-educational    institutions — including    social    service 
and  philanthropic  enterprises  of  a  more  or  less  educational  charac- 
ter— the  emphasis  may  be,  and  often  is,  put  chiefly  on  the  hygienic 
aspect  of  the  work.     At  the  same  time  efforts  are  made  to  have 
it   represent   as   much   wholesome   recreation   as  possible — in   its 
character,  teaching  and   accessories  or  adjuncts.     The  style  of 
work  which  most  readily  lends  itself  to  the  accomplishment  of 
these  aims  comprises  the  wholly  rhythmic,  less  definite  types  of 
exercises,  often  in  the  form  of  memorized  drills,  practiced  partly 
with  a  view  to  eventual  public  performance.     But  even  here  it 
will   be   advantageous   and   desirable    for   the   teacher — from   the 
standpoint  of  maintaining  interest  as  well  as  in  the  matter  of  ren- 
dering service — to  keep  in  view  the  educational  possibilities  of  the 
work.     By  striving  to  make  the  pupils  understand  and  appreciate 


SELECTION  91 

these  values  he  will  gradually  create  a  demand  for  and  an  interest 
in  the  kind  of  exercises  which  most  effectively  represent  them, 
and  thus  make  opportunity  for  increasing  the  scope  of  the  work. 


2.     SELECTION. 

The  necessity  for  care  and  judgment  in  the  selection  of  gym- 
nastic exercises  is  now  generally  recognized.  The  principle  of 
selection  has  not  always  been  universally  accepted,  however.  It 
was  held  by  some  of  the  older  Germans,  for  example  (notably 
Spiess  and  later  DuBois  Raymond),  that  if  an  exercise  could  be 
done,  that  was  sufficient  reason  for  doing  it.  This  all-possibilities 
theory  led  to  the  use  of  much  work  which  was  either  of  a  nature 
tending  to  produce  undesirable  results,  or  else  trivial,  purposeless 
and  even  absurd.  The  theory  is  now  generally  repudiated,  but 
the  effects  of  it  are  still  seen  in  the  use  or  encouragement 
of  types  of  exercises  which  are,  to  say  the  least,  of  doubtful  value. 
Some  such  types,  for  example  certain  exercises  on  gymnastic  ap- 
paratus with  the  body  supported  on  the  arms,  are  admitted,  even 
by  many  teachers  who  use  them,  to  have  obvious  objectionable 
tendencies,  and  can  be  defended  only  on  grounds  of  popular  in- 
terest based  largely  on  traditions  and  associations. 

Principles  of  selection.  In  the  selection  of  exercises  we  should 
be  guided  by  what  practical  and  theoretical  knowledge  we  possess 
regarding  the  immediate  and  remote  effects  of  the  exercises,  their 
suitability  as  material  for  class  work  under  any  given  conditions — 
including  a  consideration  of  their  interest-producing  possibilities 
— and  their  adaptability  to  the  purposes  for  which  the  work 
stands.  In  the  last  analysis  this  will  mean  an  understanding  of 
the  main  features  of  the  anatomical  mechanism  of  the  movements, 
a  working  knowledge  of  the  physiology  of  exercise,  with  the  cor- 
rect application  of  these  to  the  needs,  abilities  and  mental  charac- 
teristics of  any  given  group  of  pupils. 

Only  such  exercises  should  be  selected  as  contribute,  directly  or 
indirectly,  to  one  or  more  of  the  main  objects  of  the  work.  Such  as 
would  distinctly  tend  to  defeat  any  of  these  objects,  even  though 
they  might  represent  value  in  some  directions,  should  be  excluded. 
In  the  latter  category  would  fall,  for  example,  a  number  of  ap- 
paratus exercises — on  the  horse,  parallel  bars,  rings  and  horizon- 
tal bar — in  which  the  joint  mechanism  and  muscular  action  are 
such  as  to  make  a  good  posture  of  head,  chest,  shoulders  and  up- 
per back  extremely  difficult,  if  not  impossible.  Similarly,  exer- 
cises subjecting  the  organism  to  excessive  strain,  local  or  general, 
or  involving  too  great  risk  of  injury  from  falls,  or  in  any  other 
way,  should  be  discarded  for  use  in  class  work,  and  even  dis- 


92  GYMNASTIC  TEACHING 

couraged  when  indulged  in  outside  of  class.  This  does  not  pre- 
clude the  practice,  after  proper  preparation  and  with  sufficient 
safeguards,  of  feats  of  strength,  skill  and  agility  of  a  character  in 
keeping  with  the  normal  structure  and  natural  use  of  the  body, 
and  having  a  hearing  on  possible  legitimate  demands  which  may 
be  made  upon  it.  In  considering  the  question  of  harmful  exer- 
cises it  is  to  be  remembered  that,  while  occasional  performance 
of  any  exercise  with  undesirable  tendencies  cannot  always  be  as- 
serted to  be  directly  harmful,  the  inclusion  of  such  exercises  in 
class  work,  or  their  encouragement  outside  of  class,  is  equivalent 
to  the  teacher's  stamp  of  approval.  The  teacher's  selection  and 
definition  of  exercises  determine  or  strongly  influence  the  pupils' 
ideals  and  standards  of  quality,  their  ideas  of  what  is  correct  and 
permanently  beneficial. 

In  selecting  exercises  for  different  groups,  the  age,  sex, 
strength,  ability,  state  of  training,  mental  attitude  and  general  in- 
terest of  the  pupils  must,  of  course,  be  given  due  consideration. 
Values  and  effects  are  often  relative.  What  may  be  safe,  bene- 
ficial or  interesting  to  one  individual  or  class  may  be  the  reverse 
to  another.  In  this  respect  selection  is  often  bound  up  with  pro- 
gression. 

;}.     CLASSIFICATION. 

No  single  exercise  embodies  all  the  desirable  features,  all  the 
beneficial  effects  for  which  gymnastic  work  is  practiced.  The 
same  is  true  as  regards  athletics,  games  and  sports.  The  nearest 
approach  to  it  is  perhaps  found  in  breast-stroke  swimming.  In 
formal  gymnastics  such  all-round  exercises  do  not  occur.  And 
even  if,  by  dint  of  ingenuity,  a  few  such  exercises  were  devised, 
it  would  not  be  desirable  nor  even  feasible  to  limit  ourselves  to 
their  exclusive  use.  As  soon  as  they  were  mastered  they  would 
cease  to  represent  educational  value  and  therefore  lose  interest. 

There  are,  of  course,  many  combinations  of  movements  which 
are  of  a  more  or  less  all-round  character,  and  they  are  very  use- 
ful in  rounding  out  a  gymnastic  lesson,  particularly  in  the  matter 
of  obtaining  marked  organic  effects.  Where  this  is  the  main  ob- 
ject, and  in  classes  requiring  that  the  bulk  of  the  work  be  of  the 
less  definite  type,  a  considerable  proportion  of  the  exercises  may 
be  of  this  all-round  character.  But  generally  it  is  not  wise  to  have 
too  many  in  a  single  lesson. 

While  all  gymnastic  exercises  have  certain  main  characteristics 
in  common— e.g.,  they  all  involve  muscular  contraction,  coordina- 
tion, some  form  of  mental  effort,  fatigue,  etc. — they  differ  both 
in  general  character  and  in  details — in  the  amount  of  these  vari- 
ous features,  and  in  the  local  effects  they  produce  on  the  body. 


CLASSIFICATION  93 

A  few  main  divisions  of  the  work,  based  on  marked  differences 
of  general  character  or  of  procedure  in  handling  the  class,  would 
seem  logical  and  is  of  practical  advantage.  The  Germans  and 
Y.  M.  C.  A.  teachers  have  always  recognized  this.  Such  general 
divisions  would  be : 

I.     Marching  and  similar  work. 

II.     Free-standing  exercises,    without    or   with   use   of   hand 
apparatus. 

III.  Apparatus  work  (comprising  suspension  and  arm  support 
exercises ;  bar  stall  and  pulley  weight  exercises ;  balance 
and  suppleness  tests  ;*  jumping,  vaulting  and  tumbling. 

IV.  Class  running  and  running  games,  such  as  relay  and  ob- 
stacle races,  hang  tag,  etc. 

A  fifth  division  might  be  made  to  include  jumping  on  toes  with 
various  leg,  arm  and  body  movements,  leading  up  to  what  might 
be  called  dancing  steps  or  gymnastic  dancing.  Germans  and  some 
Y.  M.  C.  A.  teachers  have  greatly  developed  this  line  of  work. 
Here,  however,  it  will  be  included  in  the  division  of  free-stand- 
ing exercises. f 

The  second  main  division,  free-standing  exercises,  may  be  fur- 
ther sub-divided.  The  exercises  may  be  referred  to  one  or  more 
of  eight  or  nine  groups,  each  of  which  represents  some  special  fea- 
tures, such  as  circumscribed  muscular  action,  or  pronounced  ef- 
fects on  the  spine,  chest  or  certain  organs,  or  wide  distribution 
with  great  intensity  of  muscular  effort  and  with  correspondingly 
heightened  organic  reaction.  There  are,  of  course,  no  sharp  lines 
of  demarcation  between  these  groups  ;  they  all  overlap  more  or 
less,  and  many  of  the  distinctions  are  relative.  Often  an  exercise 
may  be  referred  to  one  group  at  an  early  stage  of  training  and  to 
another  group  later.  Thus  classification  may  be  dependent  on 
progression.  Again,  many  exercises  embody  several  important 
features  at  once.  Such  may  be  either  put  in  a  group  by  them- 
selves and  labelled  "miscellaneous"  or  "all-round"  exercises,  or 
designated  by  some  descriptive  term,  such  as  charges.  Or  they 
may  be  referred  to  any  one  or  all  of  the  classes  the  characteristics 
of  which  they  represent. 

While  differing  from  the  Swedes  in  the  main  divisions  of  the 
work,  the  modern  Germans  approach  them  rather  closely  in  their 
classification  of  free-standing  exercises.  The  following  grouping 
(and  characterization,  later)  is,  in  the  main,  also  similar  to  and, 
in  fact,  based  on  the  Swedish,  though  differing  from  it  in  some 


*Such  as  described  in  "Health  by  Stunts"  by  Pearl  and  Brown. 

tWhile  I  am  in  entire  sympathy  with  giving  such  work  an  important  place,  I  have  not 
happened  to  use  it  extensively  enough  in  my  own  teaching  to  warrant  an  attempt  at 
systematic  treatment,  such  as  would  be  called  for  if  differentiated  as  a  main  division. 


94  GYMNASTIC  TEACHING 

respects.  It  comprises  the  following:  Leg  and  arm  exercises 
(especially  leg)  ;  upper  back  stretching  exercises;  lower  back 
stretching  exercises;  lateral  trunk  exercises;  balance  exercised; 
abdominal  exercises;  back  and  shoulder  blade  exercises;  toe 
jumping,  etc.;  and  breathing  exercises. 


I.       MARCHING. 

In  this  group  are  included  marching  and  evolutions,  formal 
ways  of  opening  order,  facings,  march  steps  of  stated  number — 
all  exercises  involving  quick  and  unexpected  changes  of  position, 
direction  or  momentum,  and  therefore  demanding  a  continuous 
and  high  degree  of  concentrated  voluntary  attention.  The  purely 
"mental"  work — alertness,  quick  perception,  understanding,  de- 
cision and  instant  response  without  much  warning — is  empha- 
sized. The  primary  purpose  of  this  class  of  exercises  is  to  wake 
up  a  class :  to  stimulate  it  without  producing  too  much  fatigue ; 
to  focus  a  more  or  less  dispersed  attention,  to  change  it  from  a 
predominantly  reflex  to  a  more  voluntary  character  and  to  direct 
it  toward  the  prompt  execution  of  precise,  vigorous  and  con- 
sciously controlled  movements.  The  work  in  this  group  is  generally 
of  a  character  demanding  muscular  contractions  of  only  very 
moderate  intensity,  but  widely  distributed,  including  all  or  most 
of  the  fundamental  and  naturally  associated  groups.  The  move- 
ments are  usually  repeated  a  great  number  of  times  in  rhythmic 
cadence  and  in  general  are  of  the  non-definite  type.  For  this 
reason  they  are  very  effective  as  a  means  of  moderate  organic 
stimulation. 

These  two  characteristics — focusing  and  determining  the  line 
of  active  attention,  and  producing  a  moderate  but  general  organic 
reaction — make  this  group  of  exercises  eminently  suitable  as  in- 
troductory to  the  rest  of  the  gymnastic  lesson.  They  may  be  truly 
designated  as  "warming  up"  exercises,  preparing  the  pupils  and 
putting  them  into  the  proper  mental  attitude  and  bodily  condition 
for  the  work  to  follow.  When  well  presented  and  conducted,  they 
are  usually  interesting  to  the  class.  The  pupils  are  put  on  their 
mettle  to  keep  wide  awake,  to  contribute  to  the  successful  and 
finished  performance  of  the  group  action.  The  incentive  to  whole- 
hearted cooperation,  to  concentrated  attention,  to  conscientious 
and  careful  effort,  is  here  greater  than  perhaps  under  any  other 
circumstances.  The  least  mistake  is  not  only  liable  to  jeopardize 
the  success  of  the  group  action,  but  may  make  the  individual  who 
is  guilty  of  it  conspicuous  in  a  way  that  would  chagrin  even  the 
most  apathetic  and  make  him  anxious  to  avoid  it — e.g.,  colliding 
with  or  being  stepped  on  by  his  mates,  marching  off  alone  in  a 
wrong  direction,  causing  loss  of  alignment,  unison,  rhythm,  etc. 


CLASSIFICATION  95 

Aside  from  training  habits  of  attention,  quick  response  and 
cooperation  which  work  of  this  character  undoubtedly  does,  it 
also  may  be  made  to  contribute  appreciably  to  the  general  sub- 
jective motor  training  of  the  individual.  It  would  chiefly  tend 
to  improve  gait  and  carriage ;  cultivate  the  sense  of  equilibrium 
and  rhythm ;  teach  economy  of  effort  in  the  management  of  mo- 
mentum and  weight  distribution,  in  blending  and  smooth  sequence 
or  alternation  of  movement.  The  element  of  coordination,  while 
not  very  prominent,  at  least  as  regards  learning  new  forms,  is  of  a 
character  directly  applicable  to  the  ordinary  activities  of  daily  life. 

Finally,  work  of  this  kind  serves  the  useful  purpose  of  teaching 
the  class  certain  manoeuvres,  evolutions  and  formations  which 
enable  the  teacher  to  handle  it  with  ease,  facility,  orderliness  and 
minimum  expenditure  of  time.  In  this  sense,  as  well  as  in  requir- 
ing attention,  lively  action  and  proper  cooperation,  these  exercises 
are  of  a  truly  disciplinary  character. 

The  principal  type  is  marching.  The  progression  may  be  from 
column  marching,  single  file,  of  a  rather  informal  character,  in 
which  the  class  practically  "follows  the  leader"  and  the  leader  is 
guided  informally  by  the  teacher,  with  or  without  signals.  This 
is  especially  suitable  for  classes  of  young  children  and  serves 
mainly  to  teach  them  to  keep  time  and  step.  After  a  time,  facings 
and  steps,  executed  on  signal,  are  taught  separately.  Then,  grad- 
ually, the  resultant  training  in  rhythm,  response  and  unison  of 
action  is  applied  to  real  marching,  making  possible  at  first  front 
and  rear  line  marching;  then  changes  (without  halting)  from  one 
or  the  other  to  column  marching  and  vice  versa;  then  adaptations 
of  U.  S.  Army  marching,  practicing  "squads  right  and  left"  at 
first  as  done  by  the  front  rank  only,  then  as  done  by  the  rear  rank, 
and  progressing  through  the  various  evolutions  of  company  close 
order  drill,  without  (or  with)  officers.*  Later,  additional  fea- 
tures may  be  taught,  such  as  starting  a  march  with  a  facing  left, 
right  or  about  and  coming  to  a  halt  with  a  facing ;  changing  from 
single  to  double  file,  or  to  a  column  of  fours,  etc.  At  whatever 
stage  in  the  progression,  the  work  should  always  be  of  a  brisk, 
snappy  character,  with  the  element  of  uncertainty  or  unexpected- 
ness prominent. 

With  older  pupils,  whose  intelligent  interest  and  cooperation 
can  be  relied  on  from  the  outset,  the  progression  may  with  advan- 
tage be  from  simple  facings  and  steps  to  front  and  rear  marching, 
etc.,  without  the  preliminary  informal  file  marching.  Or  line 
marching  may  be  begun  at  once  and  facings  and  steps  taught  a 
lesson  or  two  later. 


*For  details  the  reader  is  referred  to  U.  S.  Infantry  Drill  Regulations,  or  to  various 
Cadet  Manuals. 


96  GYMNASTIC  TEACHING 

II.       FKKK-STANDINr,    EXKKCISKS. 

(1)      Ley  and  --Inn   I:..rcrcises. 

These  include  heel  raisings,  toe  raisings,  knee  bendings,  foot 
placings  and  lunges,  alone  or  combined  with  each  other,  and  with 
arm  movements.  The  chief  features  of  this  class  of  exercises  are 
the  amount,  localization  and  to  some  extent  the  character 
(rhythm,  speed,  range,  etc.)  of  the  muscular  work  demanded. 
Aside  from  the  lively  interplay  of  the  trunk  muscles  which  always 
occurs  when  the  body  weight  is  shifted,  and  which  in  some  of  the 
exercises  of  this  group  is  an  incidental  feature  of  considerable 
importance,  the  main  muscular  action  involves  the  large  and  mas- 
sive groups  of  hip,  thigh  and  lower  leg.  To  this  is  added,  in  com- 
bined arm  and  leg  movements,  the  powerful  contractions  of  the 
fairly  large  sized  muscles  about  the  shoulders  as  well  as  the  less 
bulky  arm  muscles.  The  repeated  contractions  of  these  large  mus- 
cular masses — even  if  moderate  in  range  or  speed— alternating 
with  more  or  less  complete  relaxation,  profoundly  influence  the 
blood  and  lymph  circulation.  And  not  only  locally,  but  all  over  the 
body.  The  arterioles  of  the  working  muscles  dilate  as  do  those 
of  the  corresponding  skin  areas.  The  first  effect  of  this  would 
be  to  lower  general  blood  pressure.  But  this  is  prevented,  and 
the  pressure  is  even  increased,  by  the  compensatory  constriction 
of  arteries  in  the  abdominal  and  other  body  cavities,  as  well  as 
by  increased  heart  action,  all  brought  about  reflexly  by  adjusting 
nervous  mechanisms.  The  auxiliary  forces  of  the  (venous)  cir- 
culation— pumping  action  on  veins  (and  lymphatics)  exerted  by 
muscular  contractions,  movements  of  joints  and  thoracic  aspira- 
tion— are  brought  into  full  action.  Thus  the  circulation  of  both 
blood  and  lymph  is  accelerated  and  equalized.  Venous  and  lymph 
stasis  of  internal  organs  is  relieved,  while  the  skin  all  over  the 
body  becomes  flushed  and  its  glands  are  more  active.  Other  or- 
gans are  affected  correspondingly.  Indeed,  this  class  of  exercises 
represents  hygienic  values — organic  stimulation — perhaps  as  typi- 
callv  as  any.  This  is  particularly  the  case  because  the  movements 
are  repeated  rhythmically.  Many  of  the  exercises  in  this  class 
demand  a  relatively  small  amount  of  nervous  tension  in  the  way 
of  alertness,  difficult  coordination  and  fine  discrimination  of  ef- 
fort (providing  the  progression  is  what  it  should  be).  At  the 
-ame  time  they  mav  be  defined  and  taught  in  a  way  to  have  con- 
-iderable  "go"  and  rhythmic  action.  These  characteristics,  as  well 
as  the  great  variety  of  combination  to  which  thev  readily  lend 
themselves,  make  possible  a  fairly  accurate  gradation  or  adjust- 
ment of  quantity  and  intensity  of  the  muscular  work,  with  cor- 
re-ponding  gauging  of  organic  stimulation.  For  all  these  reasons 


CLASSIFICATION  97 

they  are  admirably  adapted  to  be  put  at  the  beginning  of  the  les- 
son. The  pupils  are  made  to  feel  that  they  are  doing  something. 
They  are  readily  led  to  direct  their  attention  and  will  to  vigorous 
and  controlled  muscular  action.  Through  these  rhythmic  exer- 
cises the  pupils  "get  into  the  work"  of  the  lesson  in  a  way  that  is 
both  interesting  and  satisfactory. 

Besides  the  general  effects  noted  above,  the  exercises  of  this 
group  develop  size,  strength  and  coordination  of  the  leg  muscles 
in  a  most  effective  manner.  This  is  particularly  true  of  the  deep 
knee  bendings  and  the  lunges,  which  employ  complete  range  of 
contraction,  or  great  speed,  or  both,  of  all  the  muscular  groups 
from  the  hips  down.  For  this  reason,  as  well  as  on  account  of 
their  general  effects,  they  should  not  be  left  out  of  the  lesson,  even 
if  the  pupils  consider  that  they  get  enough  leg  work  in  other  ways, 
such  as  walking,  running,  standing  for  long  periods  of  time,  etc. 

Some  of  the  smaller  movements  such  as  heel  raising,  toe  rais- 
ing, foot  placings,  etc.,  may  be  defined  and  executed  in  a  way  to 
strengthen  the  arches  of  the  feet.  The  foot  placings  also  call  for 
quick,  widely  distributed  and  well-controlled  action  of  the  large 
trunk  muscles,  needed  in  the  sudden  changes  of  weight  distribu- 
tion, in  gathering  and  checking  momentum.  The  arm  movements 
that  are  used  in  combination  with  the  leg  movements  may  be  con- 
sidered to  serve  partly  the"  same  general  and  special  purposes, 
partly  to  increase  the  complexity,  difficulty  and  total  muscular 
work  of  the  leg  movements.  They  also  serve  as  preparatory  or 
supplementary  training  for  similar  types  when  used  for  special 
purposes  in  other  groups,  either  by  themselves  or  in  combination 
and  alternation  with  trunk  movements. 


(2)      Upper  Back  Stretching  Exercises. 

Types:  "Stretching,"  backward  moving  of  head,  backward  mov- 
ing of  head  with  chest  expansion.  Done  from  various  derived 
starting  positions  and  also  combined  in  various  ways  with  arm, 
leg  and  trunk  movements. 

The  exercises  of  this  group  represent  posture  training  in  gym- 
nastics more  distinctly  and  exclusively  than  those  of  any  other 
group.  They  are  so  defined  that  when  properly  executed  they 
tend  to  exert  an  influence  on  posture  in  the  upper  part  of  the 
body  diametrically  opposite  to  that  exerted  by  the  conditions  of 
daily  life,  and  especially  those  conditions  associated  with  seden- 
tary occupations. 

The  factors  which  determine  posture.  Aside  from  such  general 
conditions  as  health,  vitality,  good  nutrition  and  self-respect,  the 
chief  factors  which  determine  posture  are:  (1)  The  size  and  shape 


98  uyMXASTIC  TEACHING 

of  bones  and  their  articular  surfaces;  (?)  the  relative  length  and 
tension  of  opposing  muscles  and  fibrous  structures;  (,'$)  the  de- 
gree of  localized  muscular  control. 

The  relative  size  or  shape  of  ribs,  clavicles,  scapulae  and  verte- 
brae, as  indicated  by  the  general  configuration  of  chest,  shoulders 
and  back,  is  largely  a  matter  of  heredity  (when  not  interfered 
with  by  disease  or  malnutrition).  But  in  some  measure  it  is  also 
influenced  by  the  use  the  body  is  put  to,  especially  during  the 
growing  period.  Use — exercise — not  only  influences  the  size  and 
form  of  the  bones  directly,  through  the  stress  of  pressure  and 
tension  to  which  it  subjects  them,  but  also  indirectly,  through  the 
resulting  muscular  tone  and  the  constant  tension  on  the  bony  seg- 
ments that  this  implies. 

The  other  factor — relative  length  and  tension  of  opposing  mus- 
cles and  fibrous  structures — is  even  to  a  greater  degree  associated 
with  and  dependent  on  muscular  tone,  and  this  in  turn  is  largely 
determined  by  habits  of  posture  and  movement.  Frequent  com- 
plete contraction  against  moderate  resistance,  or  remaining  in  al- 
most complete  static  contraction  for  considerable  periods  of  time, 
while  seldom  being  subjected  to  prolonged  or  complete  stretching, 
are  conditions  conducive  to  increase  of  muscular  tone  and  a  short- 
ening of  muscles  as  well  as  fibrous  structures.  The  opposite  con- 
ditions— prolonged  passive  tension  (stretching)  and  "eccentric" 
or  even  static  and  "concentric"  contraction  of  slight  or  only  mod- 
erate range — result  in  a  decrease  of  muscular  tone  and  a  per- 
manent lengthening  of  muscles  as  well  as  fibrous  structures.  For 
fibrous,  like  muscular,  tissue  tends  to  shorten  when  not  frequently 
stretched  and  to  lengthen  when  subjected  to  frequent  or  prolonged 
tension. 

Faulty  posture.  In  the  ordinary  standing  or  sitting  position,  or 
while  walking  and  moving  about,  the  weight  of  the  head,  shoul- 
ders and  arms  tends  to  increase  the  natural  forward  curve  of  the 
thoracic  spine.  This  is  practically  always  associated  with  a  droop- 
ing or  forward  projection  of  the  head,  a  forward  displacement  of 
the  shoulder  girdle  and  more  or  less  depression  of  the  chest.  The 
only  provision  for  checking  this  tendency  of  the  upper  part  of  the 
column  to  collapse  forward  is  the  tonic  contraction  of  the  upper 
back  and  posterior  scapular  muscles.  The  force  of  gravity,  there- 
fore, acting  for  long  periods  of  time,  subjects  these  muscles  to 
strong  passive  tension.  When  they  yield  and  become  lengthened, 
because  of  insufficient  tone  and  endurance,  the  superimposed 
weight  is  in  part  carried  by  the  posterior  ligaments  of  the  spine 
and  shoulder  girdle.  At  the  same  time  the  pressure  on  the  an- 
terior part  of  the  vertebrae  and  disks  is  abnormally  great,  while 
the  joint  surfaces  of  the  vertebrae  and  of  the  bones  of  the  shoul- 
der inrdle  are  not  in  their  normal  relations. 


CLASSIFICATION  99 

On  the  other  hand,  the  anterior  muscles  and  ligaments  are  re- 
laxed and  under  little  or  no  tension  during  long  periods  and  are 
rarely  stretched  to  their  utmost.  As  the  arms  are  moved  forward 
most  of  the  time,  the  anterior  shoulder  and  scapular  muscles 
often  contract  through  their  whole  range  and  sometimes  remain 
contracted  and  considerably  shortened  for  varying  periods  of 
time.  Everything  is  thus  favorable  for  a  relative  increase  of  tone 
and  a  shortening  of  these  muscles  as  well  as  of  all  the  fibrous 
structures  in  front  of  the  shoulders,  including  the  ligaments. 

Altered  conditions  of  tension  and  pressure  in  and  about  the 
joints  of  the  upper  spine,  shoulder  girdle  and  chest  thus  lead  to 
gradual  adaptive  changes,  not  only  in  the  length  and  tension  of 
opposing  sets  of  muscles  and  ligaments,  but  probably  also  in  the 
bones  and  their  articular  surfaces.  Moreover,  once  the  balance 
in  muscular  tone  is  lost  and  faulty  posture  becomes  habitual,  the 
individual's  habits  of  associated  muscular  action  are  also  changed, 
so  that  almost  every  powerful  effort  emphasizes  the  faulty  pos- 
ture. He  soon  loses  both  the  muscular  strength  and  control  neces- 
sary to  assume  correct  posture.  Any  effort  in  this  direction  makes 
him  feel  strained  and  "unnatural."  Hence,  so  far  from  correct- 
ing itself  by  any  general  activity,  faulty  posture  rather  tends 
to  become  aggravated  by  anything  the  individual  does  in  a  "nat- 
ural" manner. 

Posture  training.  In  gymnastics,  and  especially  in  these  upper 
back  stretching  exercises,  as  well  as  in  the  closely  related  back 
and  shoulder  blade  exercises,  the  character  of  the  muscular  action 
and  the  mechanical  conditions  of  habitual,  relaxed  posture  are,  as 
far  as  possible,  reversed.  The  exercises  are  defined  and  graded 
with  a  view  to  give  the  pupils  an  ideal  of  good  posture ;  to  culti- 
vate the  kinesthetic  sense  in  regard  to  posture  in  the  upper  part 
of  the  body ;  to  train  the  coordination  and  power  of  localized  con- 
traction of  the  upper  back  muscles ;  to  increase  the  tone  and  en- 
durance of  these  muscles ;  to  shorten  permanently  both  the  mus- 
cles and  the  fibrous  structures  in  this  region ;  and  to  stretch- — to 
lengthen — the  opposing  muscles  and  fibrous  structures  of  the  up- 
per front  chest  and  shoulder  region. 

We  seek  to  obtain  these  results,  in  part  at  least,  through  the 
practice  of  exercises  which,  under  the  above  rather  inadequate 
designation,  are  really  variations  of  a  single  type  of  movement, 
chiefly  characterized  by  forcible  extension — even  effort  at  hyper- 
extension,  if  such  were  possible — of  the  thoracic  spine,  with  ac- 
companying extreme  chest  expansion.  Whatever  the  degree  of 
difficulty  and  intensity — be  it  moderate,  as  in  the  fundamental 
standing  position  and  simple  "backward  moving  of  head" ;  or  ex- 
treme, as  in  "backward  moving  of  head  with  chest  expansion'' 
from  difficult  starting  positions  as  regards  arms,  legs  and  even 


100  GYMNASTIC  TEACHING 

trunk,  or  accompanied  by  powerful  arm  and  shoulder  blade  move- 
ments, the  mechanism  of  the  exercises  is  always  the  same  in  its 
main  features.  This  may  be  described  briefly  as  the  most  com- 
plete and  localized  contraction  of  the  upper  back  muscles  of 
which  the  individual  is  capable  at  the  time.  It  involves  at  the 
same  time  a  powerful  stretching  of  the  upper  front  chest  and 
shoulder  muscles,  even  though  these  may  be  moderately  active 
('"eccentric")  to  help  guide  the  movement  or  maintain  the  proper 
position.  The  anterior  fibrous  structures — fasciae,  fibrous  cover- 
ings and  septa  of  muscles,  anterior  ligaments  of  the  spine  and  of 
the  joints  of  the  shoulder  region — all  these  are  similarly  stretched. 
The  pressure  on  joint  surfaces  is  also  the  reverse  of  that  obtain- 
ing in  the  relaxed  position. 

The  motor  and  postural  training  represented  by  this  type  of 
exercise  consists,  then,  in  part  at  least,  of  temporary  improve- 
ment of  anatomical  relations.  The  permanent  results  in  this  re- 
spect may,  indeed,  be  rather  mediocre  after  growth  has  been  com- 
pleted or  nearly  so.  And  even  during  the  growing  period  the 
results  of  the  exercises,  as  practiced  in  the  gymnastic  lesson  alone, 
may  noi  be  sufficient  to  lead  to  any  marked  anatomical  change. 
To  hare  the  desired  permanent  effects  on  posture  such  exercises 
must  be  supplemented  by  similar  and  often  repeated  efforts  on  the 
part  of  the  individual,  for  long  periods  of  time. 

But  aside  from  some  increase  of  tone  in  the  responsible  mus- 
cles and  some  stretching  of  resistant  structures,  the  chief  claim 
that  can  be  made  for  the  exercises  is  that  they  suggest  the  ideal 
of  correct  posture  and  are  conducive  to  the  kind  of  muscular  con- 
trol which  is  a  prerequisite  in  any  endeavor  to  improve  posture  by 
conscious  effort.  Furthermore,  in  stimulating  a  class  or  an  indi- 
vidual to  correct  execution  of  such  exercises,  the  teacher  has  an 
opportunity  to  impress  on  the  pupils  the  importance  of  good  pos- 
ture, to  urge  them  to  strive  for  it  at  all  times,  to  suggest  definite, 
practical  ways  of  attaining  it  (for  example,  by  maintaining  for  a 
specified  period  of  time  each  day  a  forced  erect  carriage  while 
walking)  and  so  to  start  them  in  habits  which  will  ultimately  lead 
to  permanently  improved  posture.  Only  in  this  way  (aside  from 
control)  can  the  results  of  the  work  be  "carried  over"  and  made 
permanent. 

The  difficulties  in  the  way  of  execution  are  of  two  kinds.  One 
is  the  tendency  to  merely  tilt  the  head  backward  and  at  the  same 
time  to  draw  the  shoulders  back  and  up.  The  other  is  the  strong 
tendency  to  excessive  hollowing — hyperextension — in  the  lower 
back.  They  may  go  together,  though  the  latter  is  more  often  as- 
social  ed  with  and  aggravated  by  successful  efforts  to  draw  the 
shoulders  back  and  down.  Roth  are  highly  undesirable  and  are 
due  to  inability  properly  to  localize  the  muscular  efforts.  Most 


Department  of  Physical  Education  for  Men 
University  of  California  at  I,os  Angeles 


CLASSIFICATION  101 

people  lack  the  power  to  control  the  upper  back  muscles  inde- 
pendently of  the  lower.  Any  effort  to  straighten  up  inevitably 
leads  to  an  increase  in  the  lower  (lumbar)  curve  of  the  spine.  This 
may  result  in  a  leaning  backward  from  the  waist  or  in  an  exces- 
sive backward  displacement  of  the  hips.  Besides  being  ugly  such 
a  posture  is  undesirable  for  other  reasons.  It  means  a  weak  posi- 
tion of  the  back  in  cases  of  falls  or  missteps,  causes  painful 
fatigue  and  strain  in  this  region,  is  associated  with  excessive  pel- 
vic obliquity  and  lax  abdominal  muscles,  and  is  therefore  unfavor- 
able for  the  abdominal  and  pelvic  organs  and  the  pelvic  joints. 

To  resist  this  faulty  tendency,  and  so  to  avoid  acquiring  one 
faulty  posture  while  making  efforts  to  improve  another,  it  is 
necessary  to  contract  the  abdominal  muscles  almost  as  powerfully 
as  the  back  muscles  in  all  exercises  of  this  type.  The  contraction 
of  the  abdominal  muscles  tends  to  tilt  the  pelvis  to  a  more  hori- 
zontal plane,  to  straighten  the  lower  spine,  and  so  to  neutralize  the 
effect  of  excessive  contraction  of  the  loiver  erector  spinae  group 
of  muscles.  In  other  words,  it  enables  the  individual  to  localize 
the  movement  high  up  in  the  back.  With  practice  some  power  to 
localise  the  muscular  contraction  to  the  upper  back  region  is  ac- 
quired, so  that  at  least  moderate  efforts  to  straighten  up  may  be 
made  without  inducing  much  or  any  increased  lumbar  hyperex- 
tension.  Correspondingly  decreased  contraction  of  the  abdominal 
muscles  will  then  be  needed,  and  the  whole  position  loses  some  of 
the  feeling  and  appearance  of  stiffness  which  are  apparent  at 
first.  Thus,  gradually,  the  ability  is  acquired  to  maintain  erect 
carriage  without  much  or  any  conscious  effort.  It  becomes  more 
"natural"  and  finally  habitual.  As  the  power  of  localized  muscu- 
lar control  increases,  maximal  contractions  of  the  upper  back 
and  abdominal  muscles  (and  even  of  the  hip  joint  extensors)  are 
insured  in  practice  by  doing  the  movements  from  more  difficult 
starting  positions,  or  by  combining  them  with  arm  movements,  or 
both. 

The  final  effect  in  the  way  of  muscular  control,  resulting  from 
a  diligent  practice  of  exercises  of  this  kind,  is  an  ability  to  dis- 
sociate, to  some  extent  at  least,  the  action  of  the  upper  back  mus- 
cles from  that  of  the  lower;  to  be  able  to  associate  the  former 
with  vigorous  action  of  the  abdominals  and  even  with  the  hip 
joint  extensors.  Such  ability  to  make  the  innervation  and  asso- 
ciation of  action  of  muscular  groups  cross  from  the  back  to  the 
front  and  again  to  the  back  of  the  body — literally  to  take  in  the 
slack  on  the  convex  parts — is  not  possessed  naturally,  even  by  in- 
dividuals whose  habitual  posture  and  carriage  as  well  as  general 
muscular  control  are  very  good.  They  do  not  need  it.  But  to 
improve  postural  tendencies  and  habits  such  ability  is  absolutely 
necessary. 


102  GYMNASTIC  TEACHING 

Because  of  the  great  difficulty  of  doing  these  exercises  with  full 
vigor  without  increasing  lumbar  hyperextension  and  thus  cultivat- 
ing a  "hollow  back"  posture,  the  progression  has  to  be  very  slow 
and  carefully  graded.  At  first  even  attempts  to  assume  a  good 
fundamental  standing  position  will  induce  this  fault.  This  is  still 
more  the  case  in  such  derived  starting  positions  as  those  reached 
by  arm  bending  (with  hands  at  the  shoulders  and  elbows  close  to 
the  side  of  the  body),  by  placing  the  hands  behind  the  neck,  by 
arm  raising  sideways  or  by  raising  the  arms  straight  overhead. 

At  first  the  movement  should  be  called  "backward  moving  of 
head"  and  associated  with  breathing,  with  or  without  arm  move- 
ments, in  order  to  suggest  to  the  pupils  the  right  kind  and  locali- 
zation of  muscular  effort.  When  the  chin  is  kept  from  being 
tilted  up  the  backward  movement  of  the  head  is  really  due  to  an 
extension  in  the  upper  thoracic  spine.  As  the  pupils  learn  to  do 
this  movement  correctly  and  with  full  vigor,  the  term  "with  chest 
raising"  (or  "expansion")  may  be  added  to  the  name,  giving 
them  to  understand  that  the  movement  is  the  same,  but  is  now 
to  be  done  with  the  utmost  effort  to  straighten  the  whole  upper 
back  without  participation  of.  the  lower.  It  is  then  done  with  the 
arms  in  increasingly  difficult  positions  or  combined  with  arm 
movements.  Later  it  may  be  done  in  rhythm,  alternating  with 
arm  or  foot  movements.  But  constant  watchfulness  on  the  part  of 
the  teacher  is  needed  to  see  that  the  majority  actually  succeed  in 
doing  the  movement  correctly.  If  not,  then  return  to  a  simpler 
form.  It  may  be  that  a  class  can  never  be  given  the  most  ad- 
vanced types,  with  the  arms  overhead  and  one  foot  in  front,  or 
in  the  form  of  compound  rhythmic  movements. 

The  simpler  forms  of  these  stretching  exercises  should  be  done 
as  response  movements  for  some  time.  Not  until  the  class  has 
reached  a  point  where  the  average  pupil  has  good  control  of  the 
back  and  abdominal  muscles,  and  is  accustomed  to  the  definite 
style  of  work,  is  it  safe  to  attempt  rhythmic  repetition.  A  fair 
degree  of  correctness  of  execution  may  then  be  attained  by  alter- 
nating the  backward  moving  of  head,  etc.,  with  foot  placings  or 
arm  movements.  The  best  rhythm  will  be  the  uneven  kind,  which 
strongly  contrasts  the  slow,  carefully  controlled  stretching  move- 
ment with  the  quick  arm  or  leg  movement ;  the  whole  exercise 
being  guided  by  constant  stimulation  and  admonitions.  To  head 
off  the  common  tendency  to  assume  a  poorer  position  after  the 
return  from  the  backward  moving  of  head  than  obtained  before 
the  beginning  of  the  movement,  try  to  have  the  class  retain  the 
''stretched"  position,  with  only  slight  muscular  relaxation,  during 
the  "return"  count.  There  will  always  he  sufficient  unconscious 
relaxation  during  the  intervening  arm  or  leg  movement  to  give 


CLASSIFICATION  103 

opportunity  for  an  appreciable  backward  moving  of  head  at  each 
repetition. 

When  repeated  rhythmically  a  reasonable  number  of  times,  and 
each  part  of  the  exercise  is  done  with  the  proper  vigor  and  speed, 
or  steadiness,  the  compound  and  combined  movements  of.  this 
group  represent  a  not  inconsiderable  amount  of  muscular  work. 
Thus  they  may  be  made  to  contribute  in  a  moderate  degree  to  the 
general  organic  stimulation  produced  by  the  lesson  as  a  whole. 


(3)      Lower  Back  Stretching  E.rcrciscs. 

This  group  comprises  three  types  of  exercises :  Forward-down- 
ward bendings  of  trunk ;  stooping  (touching  floor,  with  knees 
bent  and  back  straight)  ;  knee  upward  bending,  and  leg  flinging 
forward.  These  may  also,  and  more  specifically,  be  classified  re- 
spectively as  back,  leg  and  abdominal  exercises.  Because  of  their 
effects  on  the  lower  spine  they  are  used  as  complementary  exer- 
cises to  the  upper  back  stretching  exercises  and  immediately  fol- 
low them  in  the  lesson.  By  inducing  a  marked  straightening  and 
even  reversal  of  the  posteriorly  concave  curve  of  the  lower  back 
they  (1)  alter,  temporarily,  the  conditions  of  pressure  and  ten- 
sion of  joint  surfaces,  intervertebral  disks,  ligaments,  nerves,  etc., 
in  this  region.  The  circulatory  conditions  of  the  parts  are  also 
undoubtedly  influenced  favorably  by  these  changes  in  pressure 
and  tension.  All  this  gives  a  sense  of  relief  from  the  strain  and 
fatigue  incident  to  the  greater  or  less  degree  of  lumbar  hyperex- 
tension  inevitably  induced  by  the  upper  back  exercises.  (2)  They 
supplement  and  emphasize  the  training  in  localized  muscular  con- 
trol furnished  by  the  latter. 

In  upper  back  stretching  exercises  correct  execution  calls  for 
maximum  contraction  of  the  upper  back  muscles  with  minimum 
participation  of  the  lower  erector  spinae.  The  lower  back  exer- 
cises necessarily  induce  as  much  relaxation  and  stretching  as  pos- 
sible of  the  lower  back  muscles,  while  at  the  same  time  efforts  are 
made  to  maintain  the  upper  back  muscles  strongly  contracted. 
Only  by  so  doing  can  a  forward-downward  bending  of  trunk  be 
carried  to  the  utmost  limit  with  the  upper  back  straight  and  the 
head,  chest  and  shoulders  in  good  fundamental  position.  The 
stooping,  knee  upward  bending  (or  knee  raising  as  high  as  possi- 
ble) and  leg  flinging  forward  accomplish  the  same  purposes  in  a 
different  way.  Whenever  the  femur  moves  forward-upward  the 
pelvis  is  tilted  to  a  more  horizontal  position.  This  can  only  be 
done  by  a  movement  in  the  nature  of  flexion  in  the  lumbar  spine, 
amounting  to  a  straightening  or  even  reversal  of  the  natural  curve 
(hyperextension).  To  allow  such  a  straightening  the  lower  erec- 


104  GYMNASTIC  TEACHING 

tor  spinae  must  yield,  while  the  effort  to  keep  the  upper  back, 
chest,  shoulders  and  head  from  "slumping,"  necessitates  strong 
contraction  of  the  upper  back  muscles.  The  last  two  types  of 
exercise  also  strengthen  the  abdominal  muscles,  on  whose  tone 
and  control  a  good  posture  in  the  lower  back  largely  depends. 

As  regards  training  of  localized  muscular  control,  then,  the 
lower  back  stretching  exercises  may  be  said  to  do  negatively  what 
the  upper  back  exercises  aim  to  accomplish  positively.  Or,  to  put 
it  differently,  the  latter  train  the  power  to  localize  contraction  of 
and  tend  to  shorten  the  upper  back  muscles  ;  the  former  aim  to 
increase  the  power  to  localize  relaxation  of  and  tend  to  lengthen 
the  loiver  back  muscles.  Each  tends  to  increase  the  mobility  of 
the  spine  in  directions  opposite  to  the  natural  curves,  and  in  gen- 
eral to  straighten  the  whole  spine — to  "take  in  the  slack"  of 
the  muscles  and  fibrous  structures  on  the  convex  side  of  the 
curves. 

The  importance  of  having  in  each  gymnastic  lesson  at  least  one 
(and  preferably  more  than  one)  exercise  of  the  type  designated, 
must  be  obvious  to  any  one  who  has  observed  the  hollow  back 
position  assumed  by  pupils  whenever  strong  contractions  of  the 
back  muscles  are  called  for.  This  occurs  not  only  in  the  funda- 
mental position  and  in  upper  back  exercises,  but  in  shoulder  blade 
and  general  back  exercises,  in  trunk  twistings  and  side  bendings, 
in  charges  and  in  many  apparatus  exercises.  In  fact  the  bulk  of 
gymnastic  work,  when  done  with  vigor,  strongly  tends  to  pro- 
duce this  undesirable  posture.  This  tendency  is  due  to  several 
factors,  chief  of  which  are: 

1.  The  inability  of  every  one   (who  has  not   been   specially 
trained)  to  contract  the  upper  back  muscles  without  contracting 
the  whole  erector  spinae  group. 

2.  The  preexistence  of  a  posteriorly  concave  curve  and  free 
mobility  in  the  direction  of  hyperextension  in  the  lumbar  spine. 
In  many  young  people  this  curve  and  mobility  are  not  only  exag- 
gerated, but  located  higher  up  than  normal,  including  the  lowest 
two  or  three  thoracic  vertebrae. 

;>.  The  greater  mechanical  advantage  of  the  lower  back  mus- 
cles, pulling  as  they  do,  over  a  concave  surface,  while  the  upper 
back  muscles  are  stretched  over  a  convex  surface. 

•1.  The  erector  spinae  is  a  much  thicker  and  more  compact  bun- 
dle of  muscle  here  than  higher  up.  Its  tone  is  also  greatest  in  this 
region. 

">.  There  is  no  very  direct  muscular  mechanism  to  antagonize 
this  tendency  to  excessive  hyperextension  at  the  dorso-lumbar 
junction,  the  abdominal  muscles  being  the  only  group  which  can 
be  so  considered.  These  do  not  affect  the  upper  lumbar  and  lower 
thoracic  as  much  as  the  lower  lumbar  spine.  The  diaphragm  and 


CLASSIFICATION  105 

psoas  muscles  contribute,  rather  than  otherwise,  to  the  hyperex- 
tension  by  pulling  forward  the  vertebrae  to  which  they  are  at- 
tached. 

G.  In  gymnastic  positions  with  the  arms  stretched  backward, 
and  perhaps  overhead,  the  latissimus  dorsi  is  probably  also  a 
factor.  This  is  particularly  apt  to  be  the  case  when  the  range  of 
motion  in  the  shoulder  joint  is  limited,  due  to  tightness  of  the 
muscles  and  fibrous  structures  in  front,  and  efforts  are  made  to 
force  the  arms  backward  or  to  expand  the  chest. 

While  gymnastic  exercises  like  the  lower  back  and  abdominal 
movements  cultivate  the  muscular  strength  and  control  necessary 
to  resist  the  tendency  to  excessive  hollow  back  in  gymnastic  work, 
they  do  not  adequately  train  the  sense  of  correct  posture  and 
proper  weight  distribution  in  the  lower  trunk  region.  Such  cor- 
rect posture  sense  is  a  prerequisite  for  the  right  application  of 
muscular  efforts,  in  ordinary  movements  and  positions  as  well  as 
in  gymnastic  exercises.  For  the  acquisition  of  this  sense  of  posi- 
tion and  the  kind  of  muscular  efforts  needed,  individual  assistance 
and  guidance  by  the  teacher  are  most  effective.  Such  help  may 
very  well  include  forcible  manipulation,  preferably  before  a  large 
mirror,  so  that  the  pupil  can  both  see  and  feel  what  he  has  to  do. 

Besides  their  special  effects  on  posture,  in  developing  and 
strengthening  the  back  (or  leg  or  abdominal)  muscles  and  in- 
creasing their  control,  the  exercises  in  this  group  represent  a  con- 
siderable quantity  of  muscular  work.  The  majority  of  the  for- 
ward-downward bendings  readily  lend  themselves  to  combination 
or  alternation  with  arm  movements,  foot  placings  and  even  knee 
bending.  The  knee  upward  bendings  and  leg  flingings  forward 
have  all  the  characteristics  of  abdominal  exercises  and  to  some 
degree  those  of  leg  movements.  These,  as  well  as  stooping,  are 
suitable  for  rhythmic  repetition  and  so  may  be  made  to  contrib- 
ute largely  to  the  general  organic  effects  of  the  lesson.  For  this 
reason,  too,  it  is  wise,  if  time  permits,  to  have  more  than  one 
representative  of  this  group  in  each  lesson. 


(4)     Lateral  Trunk  Exercises. 

This  is  one  of  the  three  groups  of  trunk  exercises,  the  other 
two  being  the  abdominal  and  the  back  movements.  As  its  name 
implies,  the  localization  of  the  muscular  action  is  primarily  in  the 
waist  or  loin  region ;  but  the  hip  and  thigh  muscles  are  also 
strongly  active  in  these  exercises.  There  being  no  lateral  trunk 
muscles,  properly  speaking,  the  contiguous  abdominal  and  back 
muscles  of  each  side  act  together  in  such  types  as  side  bending 
and  leg  moving  sideways  ;  while  in  trunk  twisting  the  different 


106  GYMNASTIC  TEACHING 

layers  of  oblique  abdominal  muscles  on  each  side  act  in  conjunc- 
tion with  the  oblique  back  muscles. 

Exercises  of  this  group  thus  involve  fairly  wide  distribution 
of  muscular  action.  When  of  a  vigorous  character  (and  most 
of  them  are  or  may  be)  the  total  quantity  of  muscular  work  is 
therefore  considerable.  The  organs  of  circulation  and  respira- 
tion are  correspondingly  active.  Besides  these  general  effects, 
lateral  trunk  exercises  influence  the  various  organic  functions  in 
special  ways.  The  circulation  in  the  abdominal  cavity  and  espe- 
cially the  portal  flow  is  stimulated  and  aided  by  the  alternate 
compression  and  stretching  of  the  organs.  The  variations  of 
intra-abdominal  pressure  and  tension  also  mechanically  stimulate 
the  intestine  to  more  vigorous  peristalsis. 

The  conditions  under  which  breathing  takes  place  are  modi- 
fied. Respiration  is  apt  to  be  interfered  with  owing  to  the  power- 
ful contraction  of  the  abdominal  muscles  in  some  of  the  exercises, 
notably  trunk  twistings.  This  increases  the  intra-abdominal  pres- 
sure and  hinders  the  descent  of  the  diaphragm.  Inspiration  must 
therefore  be  accomplished  mainly  by  movement  of  the  ribs.  The 
change  of  form  of  the  thorax  in  many  of  the  exercises  requires 
all  or  nearly  all  of  the  mobility  of  which  the  chest  is  capable, 
leaving  but  a  slight  range  for  purposes  of  breathing.  The  tension 
of  the  abdominal  muscles  and  of  those  oblique  back  muscles  at- 
tached to  the  ribs  tends  to  reduce  still  further  the  mobility  of  the 
chest,  at  least  on  one  side  .at  a  time.  While  free  respiration  is 
thus  hindered  at  the  extreme  limit  of  each  movement,  the  effort 
to  maintain  it  gives  good  training  to  the  inspiratory  muscles, 
teaches  the  individual  to  manage  his  breathing  to  best  advantage 
under  difficulties,  and  cultivates  the  mobility  of  the  chest,  all  parts 
of  which  are  made  to  do  full  duty  during  the  different  phases  of 
the  movement.  Because  of  these  difficulties,  pupils  are  apt  to  hold 
their  breath  for  considerable  periods  and  need  frequent  reminders 
from  the  teacher  to  try  to  breathe  deeply  and  evenly. 

The  development  and  increased  control  of  the  abdominal  and 
back  muscles  is  another  valuable  feature  of  lateral  trunk  exer- 
cises. The  average  person  of  sedentary  habits  is  greatly  in  need 
of  this  kind  of  training.  The  ordinary  movements  of  daily  life 
rarely  call  for  complete  or  varied  action  of  these  large  and  im- 
portant muscle  groups.  This  is  particularly  true  as  regards  the 
abdominal  muscles,  which  are  so  often  undeveloped,  relaxed  and 
covered  with  fat. 

In  view  of  the  many  valuable  effects — general  and  special — of 
lateral  trunk  exercises,  at  least  one  and  preferably  two  or  more 
free-standing  movements  of  this  class  should  be  given  in  each 
lesson,  especially  when  there  is  little  or  no  apparatus  work.  The 
principal  types — side  bending,  leg  flinging  sideways  and  trunk 


CLASSIFICATION  107 

twisting — may  be  combined  and  alternated  with  arm  movements, 
foot  placings,  charges  (these  are  true  lateral  trunk  exercises), 
lunges  and  other  trunk  movements,  as  well  as  with  each  other, 
thus  offering  great  possibilities  for  variety  and  a  carefully  graded 
progression.  Leg  flinging  sideways  offers  less  opportunity  in  this 
respect,  being  limited  to  variations  of  speed  and  range,  to  combi- 
nation with  a  few  arm  movements,  and  alternation  or  combination 
with  jumps  on  toes  or  dancing  steps. 

Besides  the  free-standing  types  mentioned,  many  forms  of 
jumping,  tumbling,  vaulting,  climbing  and  other  apparatus  work 
embody  some  or  all  of  the  features  of  lateral  trunk  exercises.  So 
do  such  athletic  exercises  as  shot  put,  hammer,  discus  and  jave- 
lin throw,  all  forms  of  throwing,  hurdling,  pole  vaulting,  pad- 
dling, etc.  These  are  often  of  an  even  more  powerful  character 
than  the  free-standing  movements. 


(5)      Balance  Exercises. 

As  the  name  implies,  the  chief  feature  in  this  class  of  exercises 
is  the  maintaining  of  equilibrium.  The  types  used  are  positions  or 
movements  in  which  the  base  is  progressively  reduced  and  the 
center  of  gravity  raised.  Such  are :  Standing  on  the  toes  with  toes 
together,  or  one  foot  in  front  of  the  other  (close  toe  standing  and 
walk  toe  standing  positions)  ;  or  on  one  foot  with  the  other  raised 
forward  or  sideways  ;  head,  arm  or  leg  movements  (including  heel 
raising  and  knee  bending)  from  these  positions ;  the  toe-support 
charge  position,  and  raising  of  the  rear  leg  from  that  position 
(horizontal  balance  position  on  one  foot)  ;  forward  bending  and 
side  bending  of  trunk  on  one  foot,  the  other  leg  in  line  with  the 
trunk ;  leg  raising  from  side  leaning  rest ;  opposite  arm  and  leg 
raising  from  the  front  leaning  rest ;  balance  marching ;  also  walk- 
ing forward,  backward  and  sideways  (with  various  modifica- 
tions) on  the  balance  beams. 

While  the  muscles  of  the  legs  are  usually  the  principal  groups 
involved,  all  parts  of  the  muscular  system,  especially  the  large 
groups  of  the  trunk,  are  more  or  less  active.  There  is  constant 
interplay  of  opposing  groups.  Sometimes  the  action  is  brief  and 
only  very  moderate.  Again  it  may  be  quite  violent  in  efforts  to 
recover  the  equilibrium  when  the  oscillations  have  become  too 
large. 

Although  the  distribution  of  the  muscular  work  is  usually  over 
wide  areas,  the  exercises  are  ordinarily  not  repeated  a  sufficient 
number  of  times  to  produce  any  marked  organic  effect.  This 
is  true  even  when  they  are  done  rhythmically  (as  it  is  possible  to 
do  in  some  types).  But  in  such  cases  the  rhythm  should  be  slow, 


108  GYMNASTIC  TEACHING 

the  positions  being  held  relatively  long.  Otherwise  the  exercise 
represents  too  little  difficulty  in  keeping  the  balance. 

The  chief  value  of  exercises  of  this  kind  consists  in  the  train- 
ing of  subjective  motor  control.  They  cultivate  the  sense  of  equi- 
librium and  the  kind  of  muscular  coordination  required  to  make 
quick  and  accurate  adjustments  of  weight  distribution,  to  check 
promptly  too  great  or  sudden  deviations  from  the  proper  align- 
ment and  poise  of  the  various  segments  of  the  column. 

\Yhen  many  of  the  exercises  in  the  lesson  offer  some  degree  of 
difficulty  in  maintaining  a  steady  balance  or  require  frequent 
and  quick  changes  of  weight  distribution,  as  is  the  case  in  charges 
and  in  many  movements  done  from  the  walk  standing  or  close 
standing  positions,  special  balance  exercises  may  be  dispensed 
with.  Often,  however,  a  balance  exercise  of  not  too  great  diffi- 
culty may  with  advantage  be  put  between  two  vigorous  trunk 
movements,  serving  thus  as  a  relief  from  or  break  in  what  might 
otherwise  be  too  long  or  severe  a  muscular  exertion. 

The  heel  raisings  and  knee  bendings  from  more  or  less  difficult 
starting  positions  may  be  practiced  at  first  as  balance  exercises 
and  later,  when  they  offer  little  or  no  further  difficulty  in  regard 
to  balance,  they  may  be  used  as  leg  movements  in  the  beginning 
of  the  lesson.  The  side  bending  and  forward  bending  of  trunk 
while  standing  on  one  foot,  as  well  as  the  toe-support  charge  and 
horizontal  position  on  one  foot,  may  also  be  considered  advanced 
lateral  trunk  and  back  exercises,  respectively,  and  take  the  place 
of  representatives  of  these  groups  in  the  lesson. 


(6)     Abdominal  Exercises. 

In  these  the  localization  of  the  work  on  the  abdominal  muscles 
is  more  direct  than  in  any  other  class  of  exercises.  The  principal 
types  are  knee  upward  bending,  leg  raising  forward  and  leg  cir- 
cling from  the  standing  as  well  as  hanging  and  lying  positions ; 
trunk  raising  from  the  lying  to  the  sitting  position  with  feet  fixed 
or,  what  is  the  same  thing,  leaning  backward  from  the  sitting 
position  and  returning  to  it.  Another  type  is  backward  leaning 
of  the  trunk  while  in  the  kneeling  position,  on  one  or  both  knees. 
Moving  the  arms  forward-upward  and  forward-downward  with 
"chest"  weights  in  the  hands  and  the  body  in  a  lying  or  reclining 
position  (as  on  the  quarter  circle)  may  also  be  included.  So  may 
the  front  leaning  rest  (prone  falling  position)  as  well  as  many 
forms  of  jumping,  tumbling,  vaulting  and  climbing. 

In  the  majority  of  these  exercises  the  thighs  are  Hexed  on  the 
trunk,  or  the  trunk  on  the  thighs,  against  the  resistance  of  gravity. 
The  action  of  the  hip  joint  flexors  under  these  conditions  is 


CLASSIFICATION  109 

always  associated  with  contraction  of  the  abdominal  muscles. 
Under  certain  conditions  of  fixation  the  pectorals  and  anterior 
neck  muscles  similarly  tend  to  act  in  conjunction  with  the  abdomi- 
nal muscles  or  vice  versa.  Indeed,  all  the  anterior  muscle  groups 
may  be  considered  parts  of  one  great  system  of  muscles  whose 
associated  action  tends  to  produce  a  general  "curling  up"  of  the 
whole  body.  In  the  majority  of  the  types  of  exercises  enumer- 
ated, however,  it  is  desirable  to  resist  the  effect  of  the  contraction 
of  pectorals  and  anterior  neck  muscles  (by  vigorous  contraction 
of  the  upper  back  muscles)  and  to  localize  the  movement  as  much 
as  possible  to  the  hip  joint  and  lower  spine.  The  contraction  of 
the  hip  joint  flexors  tends  to  tilt  the  pelvis  forward  (increasing 
its  obliquity)  and  to  produce  excessive  hyperextension  of  the  up- 
per lumbar  and  lower  thoracic  spine.  The  associated  contraction 
of  the  abdominal  muscles  not  only  prevents  this,  and  steadies  the 
pelvis,  but  even  flexes  it  on  the  trunk  (decreasing  its  obliquity) 
through  a  straightening  (and  reversal  where  that  is  possible)  of 
the  natural  curve  in  the  lower  spine. 

In  their  general  organic  effects,  associated  with  powerful  con- 
traction of  large  muscle  groups,  the  abdominal  exercises  are  on  a 
par  with  the  lateral  trunk  movements.  Their  special  effects  on  the 
abdominal  organs  are  also  similar  and  often  more  pronounced. 
The  same  is  true  as  regards  increasing  the  strength,  tone  and  con- 
trol of  the  abdominal  muscles.  In  this  connection  the  exercises 
may  even  be  considered  as  supplementary  to  the  lower  back 
stretching  exercises  in  posture  training  of  the  lower  trunk  and 
hip  region. 

Like  the  lateral  trunk  movements,  the  abdominal  exercises  tend 
also  to  hinder  free  respiration.  But  whereas  the  former  compel 
expansion  of  different  parts  of  the  chest  during  different  phases 
of  the  movement,  the  latter  always  tend  to  depress  the  chest,  to 
round  the  upper  back  and  to  draw  the  head  forward.  To  prevent 
these  faulty  tendencies  it  is  necessary,  as  already  stated,  to  con- 
tract the  upper  back  muscles  with  considerable  vigor.  Thus,  indi- 
rectly, the  abdominal  exercises  contribute  to  posture  training  in 
the  upper  part  of  the  body  by  offering  difficulties  in  maintaining 
good  posture  in  that  region. 

Because  of  the  relative  scarcity  of  free-standing  types  of  ab- 
dominal exercises  and  a  rather  limited  progression  within  each, 
it  may  not  always  be  feasible  to  have  a  representative  of  this 
group  in  each  lesson  without  frequent  repetition  of  the  same 
types,  viz.,  knee  upward  bending  and  leg  flinging  forward  (or  for- 
ward-sideways), backward  leaning  of  trunk  from  the  kneeling 
position,  and  front  leaning  rest  with  or  without  foot  placing  for- 
ward and  backward.  Letting  a  whole  class  lie  down  on  the  floor 
and  in  this  position  giving  leg  raising,  etc.,  is,  of  course,  also  feasi- 


110  GYMNASTIC  TEACHING 

ble.  When  no  apparatus  work  is  given,  at  least  one  of  the  above 
types  should  be  included  in  the  lesson.  When  apparatus  work 
is  a  part  of  the  lesson,  many  of  these  exercises  should  be  of  a  kind 
embodying  the  valuable  features  of  the  abdominal  group. 

(7)      Hack  and  Shoulder  Blade  Exercises. 

In  these  the  work  is  localized  on  the  back  muscles.  According 
as  the  emphasis  is  placed  chiefly  on  the  extreme  contraction  of 
the  upper  back  and  posterior  scapular  muscles,  or  the  work  is 
more  uniformly  distributed  over  all  the  muscular  groups  of  the 
back,  including  the  hip  joint  extensors,  the  exercises  of  this  group 
may  be  respectively  designated  as  shoulder  blade  movements  and 
general  back  movements. 

A.  Shoulder  Blade  Movements.  Under  this  head  come  the 
various  arm  movements,  such  as  arm  bending  and  stretching  side- 
ways, diagonally  upward,  upward,  forward,  backward — both 
arms  in  the  same  direction  or  each  in  diverse  directions — quick. 
or  slow  and  resisted ;  forward  bending  and  sideways  flinging  of 
arms;  half  sideways  bending  of  arms  (to  side-horizontal,  elbow 
half  flexed)  ;  arm  raising  or  flinging  forward,  sideways,  forward- 
upward,  sideways-upward  ;  arm  circles  high  or  low,  large  or  small, 
quick  or  slow ;  swimming  movements  with  the  arms ;  placing 
hands  on  hips,  behind  neck  or  over  head ;  changes  from  one  of  the 
positions  reached  by  these  movements  to  another.  The  difficulty, 
intensity  and  total  amount  of  muscular  work  in  these  movements 
are  increased  by  doing  them  from  a  position  with  the  body  in- 
clined forward,  as  by  being  bent  at  the  hips  (trunk  forward  bend 
standing  position);  in  charges;  in  lying  face  downward  on  the 
floor,  or  supported  by  a  bench  under  the  thighs  (prone  lying  posi- 
tion). They  may  also  be  combined  with  leg  movements,  upper 
and  lower  back  stretching  exercises,  or  alternated  with  these  and 
almost  any  other  free-standing  movement. 

Their  main  purpose,  aside  from  the  general  one  of  contributing 
to  the  total  amount  and  greater  complexity  of  the  muscular  work, 
is  to  increase  the  strength,  endurance,  control  and  tone  of  the 
upper  back  and  scapular  muscles,  to  cultivate  the  posture  sense, 
and  thus  to  furnish  the  basis  and  means  for  effective  posture 
training  in  the  upper  part  of  the  body.  In  this  respect  they  re- 
semble and  supplement  the  upper  back  stretching  exercises,  with 
which  thcv  are  closely  allied  and  for  which  they  may  be  used  as 
substitutes  in  the  early  stages  of  progression  with  untrained 
classes. 

Fixation  of  the  Shoulder  Girdle.  The  habitual  position  of  the 
shoulder  girdle  relative  to  the  thorax  is  largely  a  matter  of  bal- 
ance of  tone  on  the  part  of  the  posterior  scapular  muscles  on  one 


CLASSIFICATION  111 

hand,  and  gravity  and  the  anterior  scapular  muscles  on  the  other. 
If  the  posterior  muscles  are  slack  and  the  anterior  are  in  a  rela- 
tively higher  state  of  tonic  tension,  the  latter  will  draw  the  scap- 
ula away  from  the  spine  and  the  point  of  the  shoulder  forward. 
The  weight  of  the  shoulders,  naturally  tending  forward,  acts  with 
greater  leverage  the  farther  this  forward  displacement  is  allowed 
to  go.  In  movements  of  the  arms  in  front  of  the  body  the  pecto- 
rals, in  conjunction  with  the  serratus  magnus,  will  move  the 
shoulder  girdle  forward  as  far  as  it  will  go,  before  the  full  force 
of  the  pectoralis  major  is  exerted  on  the  arms.  If  the  posterior 
muscles  are  very  slack  (long),  the  final  checking  of  the  forward 
movement  of  the  shoulder  girdle  will  devolve  largely  on  fibrous 
structures — ligament  and  fasciae.  Such  checking,  by  passive  ten- 
sion on  muscles  and  fibrous  structures  may  be  called  passive  ( liga- 
mentous  or  natural)  fixation  of  the  ohoulder  girdle. 

The  shoulder  blade  movements  enumerated  should  be  so  de- 
fined and  executed  that  there  is  a  minimum  forward  displacement 
(or  upward,  as  the  case  may  be)  of  the  shoulder  girdle  in  move- 
ments of  the  arms.  That  means  vigorous  and  sustained  contrac- 
tion of  the  scapular  depressors  and  adductors  throughout  the  ex- 
ercises, and  may  be  called  active  (muscular  or  artificial)  fixation 
of  the  shoulder  girdle.  The  resulting  increased  tone  ^nd  endur- 
ance of  the  posterior  scapular  muscles  woMid  insure  ?  more  pos- 
terior position  of  the  shoulder  girdle  in  passive  fixaf/:.i  curing 
arm  movements  as  well  as  a  better  habitual  pc^.ue,  not  omy  of 
the  shoulders,  but  of  the  upper  back  and  chest  as  wea,  It  is 
another  case  of  "taking  in  the  slack"  on  the  convex  side. 

B.  General  Back  Movements.  These  comprise  forwai  J  and 
forward-downward  bending  of  trunk  from  the  standing  and 
prone  lying  position,  the  latter  with  support  under  the  thighs 
(feet  fixed)  ;  forward  and  oblique  charges,  reverse  and  toe-sup- 
port charges  and  forward  bending  added  to  these ;  also  apparatus 
exercises,  such  as  the  heel-support  hanging  and  front  rest  positions 
and  related  exercises,  as  well  as  a  number  of  suspension  exercises 
and  vaults.  All  involve  active  contraction  of  the  whole  muscular 
region  of  the  back  and  the  posterior  hip  joint  muscles  (exten- 
sors). These  are  active  in  efforts  to  maintain  the  extended  posi- 
tion of  the  whole  body  against  gravity,  or  are  partly  relaxed  at 
the  lower  level  to  permit  flexion  at  the  hip  and  in  the  lumbar 
spine,  while  those  in  the  thoracic  region  remain  completely  con- 
tracted to  keep  the  upper  spine  straight.  In  returning  to  the  ex- 
tended (erect)  position  against  the  resistance  of  gravity  they  all 
contract  equally. 

The  difficulty  of  the  exercises  and  the  intensity  of  the  muscular 
work  will  depend  on  the  degree  of  projection  of  the  body  beyond 
the  point  of  support  and  on  the  height  at  which  the  arms  are 


112  GYMNASTIC  TEACHING 

carried.  Both  increase  the  weight  leverage.  The  horizontal  posi- 
tion in  forward  bending  represents  the  greatest  weight  leverage. 
The  higher  and  more  difficult  positions  of  the  arms  not  only  raise 
the  center  of  gravity  but  also  increase  the  static  action  of  the 
scapular  and  upper  back  muscles.  When  arm  movements  are 
added,  the  intensity  of  the  muscular  work  is  still  further 
heightened.  All  these  factors  should  be  taken  into  account  in  the 
progression  of  these  exercises  and  in  deciding  where  to  place  them 
in  the  lesson. 

The  purpose  of  general  back  movements  is  to  develop, 
strengthen  and  increase  control  of  all  the  back  muscles ;  to  favor 
the  correct  growth  of  the  spine ;  to  improve  minor  lateral  devia- 
tions ;  to  maintain  and  increase  mobility  in  the  directions  least 
cultivated  by  the  ordinary  movements  of  daily  life — extension  in 
the  upper  part,  flexion  in  the  lower.  The  intensity  and  wide  dis- 
tribution of  the  muscular  work  also  represent  considerable  or- 
ganic stimulation.  These  general  effects  are  enhanced  by  rhyth- 
mic repetition  alternating  with  foot  placings  or  arm  movements. 

Charges.  Forward,  oblique,  side,  reverse,  reverse  oblique  and 
reverse  side  charges  (all  with  feet  about  three  foot-lengths  apart, 
body  inclined  about  45°  and  in  line  with  the  straight  leg}  have 
already  been  mentioned  under  lateral  trunk  and  back  exercises. 
They  have  many  of  the  characteristics  of  these  groups,  as  well  as 
of  leg  movements,  and  are  therefore  truly  all-round  exercises. 

On  account  of  the  varied  and  widely  distributed  muscular  ac- 
tion, charges  admirably  fulfil  the  purpose  of  general  exercise. 
They  are  also  very  valuable  as  a  means  of  training  the  kinesthetic 
sense  and  the  power  of  coordinating  the  action  of  trunk  and  leg 
muscles,  requiring,  as  they  do,  accurate  alignment  and  quick  re- 
adjustments of  weight  distribution.  Because  of  their  difficulty 
and  vigorous  all-round  character,  as  well  as  their  appearance,  they 
are  usually  interesting  to  pupils.  But  in  order  to  insure  correct 
execution  they  should  not  be  given  too  early,  and  the  progression 
should  be  slow  and  careful.  As  the  possibilities  for  variations 
are  considerable — by  combining  and  alternating  with  arm  and 
trunk  movements — this  type  of  exercise  may  be  represented  more 
than  once  in  each  lesson  without  excessive  repetition  of  each 
variety. 

(8)      Toe  Jumps  (and  Elementary  "Dancing  Stems'''}. 

These  comprise  a  number  of  rhythmic  jumping  exercises  of 
varying  complexity  and  difficulty,  such  as  simple  toe  jumping 
without  and  with  foot  placing  sideways,  forward-backward,  ad- 
vancing and  retreating,  alternately  forward  and  backward  or 
from  side  to  side  (feet  together)  ;  hopping,  cut-steps,  "hop  and 


CLASSIFICATION  113 

kick,"  leap  and  hop,  rocking  steps,  "breaks,"  etc.  Many  may  be 
combined  with  various  arm  movements,  with  leg  flinging  forward, 
sideways  or  diagonally,  even  with  trunk  bending  and  twisting. 
Similar  "steps"  from  many  folk  dances  may  be  included  in  this 
group.  Many  mimetic  exercises  may  be  done  in  similar  manner. 
Indeed,  there  is  no  limit  to  the  number  and  variety  of  exercises 
of  this  kind  which  an  ingenious  teacher  might  devise. 

Standing  jumps  forward,  upward,  sideways  and  backward, 
done  as  ensemble  response  exercises  on  signal  may  also  be  put  in 
this  group. 

All  these  exercises  are  of  a  more  or  less  all-round  character, 
similar  in  many  respects  to  the  apparatus  exercises  described  un- 
der "Jumping  and  Vaulting."  They  represent  valuable  motor 
training,  varied  in  kind  and  considerable  in  extent.  Because  of 
the  vigorous  character,  wide  distribution  and  rhythmic  continuity 
of  the  muscular  work  in  most  of  the  exercises  of  this  group,  they 
are  particularly  effective  as  means  of  organic  stimulation.  And, 
besides,  they  are  easily  made  interesting  to  a  class. 

(9)      Breathing  Exercises. 
For  a  discussion  of  these  see  page  120. 


III.       APPARATUS   WORK. 

A.     Suspension  Exercises. 

In  these  the  body  is  suspended  on  the  arms,  the  typical  exer- 
cise being  the  (active)  hanging  position.  Whatever  modifications 
or  additional  movements  are  made  from  this  position,  such  as 
arm  bending,  momentary  suspension  on  one  arm  in  hand  travel- 
ling, swinging,  leg  movements,  etc.,  the  essential  features  are  al- 
ways more  or  less  the  same.  These  are :  A  marked  chest  expan- 
sion ;  at  least  a  moderate  straightening  of  the  thoracic  spine ; 
vigorous  action  of  the  flexors  of  the  elbow,  of  the  muscles  which 
bring  the  arm  down  to  the  side  (latissimus,  teres  major  and  pecto- 
ralis  major),  of  the  rotators  downward,  adductors  and  depressors 
of  the  scapula  (rhomboids,  pectoralis  minor  and  trapezius),  as 
well  as  of  the  deltoid  and  abdominal  muscles. 

The  chest  expansion  is  caused  partly  by  the  straightening  of 
the  thoracic  spine,  partly  by  the  great  tension  (passive  or  active) 
of  the  pectorals  and  latissimus.  The  straightening  of  the  thoracic 
spine  is  due  both  to  traction  of  the  lower  part  of  the  body  and  to 
the  contraction  of  the  erector  spinae  associated  with  the  action  of 
the  posterior  scapular  muscles. 


114  GYMNASTIC  TEACHING 

The  breathing  takes  place  under  the  same  modified  conditions 
as  occur  in  the  upper  back  stretching  exercises.  The  thoracic 
walls  being  practically  fixed  in  the  expanded  position,  the  dia- 
phragm is  the  chief  factor  of  the  respiratory  movements.  Its  de- 
scent in  inspiration  takes  place  against  increased  intra-abdominal 
pressure,  due  to  the  passive  tension  or  active  contraction  of  the 
abdominal  muscles.  Besides  these  modified  general  conditions  of 
breathing,  many  of  the  more  difficult  exercises  in  this  group  re- 
quire (or  strongly  tempt  to)  a  temporary  cessation  of  respiration 
altogether.  This  is  always  apt  to  occur  when  extreme  muscular 
efforts  are  made,  especially  in  movements  of  the  arms  or  trunk. 
The  chest  is  then  made  rigid  by  the  contraction  of  the  abdominal 
muscles,  forcing  the  diaphragm  to  ascend  and  compress  the  air 
inside  the  chest,  the  glottis  having  been  previously  closed.  This 
gives  the  muscles  attached  to  the  chest  a  fixed  point  from  which 
to  act  on  the  arms.  Such  tendency  to  hold  the  breath  should,  of 
course,  be  resisted  and  regular  breathing  insisted  on  in  all  but 
the  most  severe  and  difficult  movements.  In  the  latter  the  per- 
former may  often  be  obliged  to  time  his  breathing  to  correspond 
with  a  given  phase  of  the  exercise  in  which  a  partial  relaxation 
of  the  muscular  effort  is  feasible.  Thus,  by  proper  management 
of  the  respiration  under  difficulties,  valuable  training  and  in- 
creased efficiency  of  the  breathing  mechanism  may  result. 

Many  of  the  exercises  of  this  class  represent  fairly  violent  mus- 
cular work  of  an  intermittent  character — comparatively  brief  and 
powerful  efforts  alternating  with  relatively  long  intervals  of  rest. 
This  is  due  to  the  fact  that  the  necessary  apparatus  can  often 
only  be  used  by  one,  or  at  most  a  few  individuals  at  a  time.  By 
the  use  of  multiple  apparatus,  or  by  selecting  such  exercises  as 
can  be  done  on  ladders,  suspended  parallel  bars  and  the  boom 
(allowing  the  simultaneous  performance  of  several  pupils)  this 
difficulty  may  be  obviated  to  some  extent  and  the  continuity  of  the 
work  increased.  In  the  "pure"  types  of  suspension  exercises,  such 
as  the  simple  hanging  position  and  arm  bending  or  hand  travelling 
in  this  position,  the  work  is  of  a  somewhat  local  character.  The 
resistance  (the  body  weight)  to  be  overcome  by  the  working  mus- 
cles is  comparatively  great,  hence  repetitions  are  not  apt  to  be 
numerous. 

Besides  these  typical  or  "pure"  suspension  exercises,  there  are 
many  which  are  of  a  more  general  character,  embodying  some 
(if  the  features  of  abdominal,  lateral  trunk,  back  and  even  leg 
exercises.  Such  are,  for  example,  knee  upward  bending,  leg  rais- 
ing and  leg  circling  from  the  hanging  position;  climbing  on  ropes, 
poles  or  window  ladders;  complex  movements  on  rings  and  hori- 
zontal bar;  the  heel-support  hanging  position  and  its  modifica- 
tions; combined  arm  stretching  and  bending  with  knee  bending 


CLASSIFICATION  115 

and  stretching  while  standing  on  one  or  both  feet  and  grasping  a 
bar,  ropes,  rings,  etc.  These  mixed  types  may  be  easier  or  more 
severe  than  the  pure  types  in  their  local  effects.  Thus,  the  heel- 
support  hanging  position  (body  inclined  and  part  of  the  weight 
supported  on  the  heels)  is  easier  as  regards  the  work  of  the  mus- 
cles of  the  shoulder  girdle  and  as  regards  breathing,  but  the  addi- 
tional action  of  the  lower  back  and  posterior  hip  muscles  makes 
it  an  exercise  of  more  general  character.  The  same  is  true  of  the 
pull-up  with  help  of  the  legs.  For  this  reason  such  types  may  be 
used  as  preparation  for  the  more  typical  suspension  exercises 
when  the  necessary  strength  in  the  arm  and  shoulder  muscles  is 
lacking.  On  the  other  hand,  such  exercises  as  starting  swings, 
circles,  upstarts,  etc.,  represent  more  violent  local  as  well  as  more 
widely  distributed  muscular  work,  owing  to  the  simultaneous  or 
alternating  powerful  contraction  of  the  abdominal  or  back  mus- 
cles. 

In  general,  it  is  not  wise  to  practice  exercises  of  this  class  (at 
least  the  more  violent  types)  without  some  preliminary  "warm- 
ing up"  in  the  shape  of  free-standing  movements  or  chest  weight 
exercises.  Otherwise  muscular  strains  and  distress  of  the  circu- 
latory and  respiratory  organs  are  apt  to  occur,  followed  by  unsat- 
isfactory general  feeling. 

Summary.  The  suspension  exercises  are,  then,  characterized 
by  their  developmental  effects  on  the  upper  trunk  muscles  and 
especially  on  those  of  the  shoulder  girdle  and  upper  extremity ; 
by  their  tendency  to  strengthen  the  abdominal  wall,  to  increase 
the  mobility  of  the  chest  and  the  efficiency  of  the  whole  breathing 
mechanism ;  by  their  favorable  postural  "effects  on  the  spine — 
lateral  as  well  as  antero-posterior ;  by  their  relative  high  intensity 
and  considerable  total  quantity  of  muscular  work.  They  are  also 
conducive  to  a  kind  of  skill  or  agility  which  may  be  urgently 
needed  in  some  emergency.  When  carefully  defined  and  correctly 
executed  they  are  most  valuable  exercises  and  should,  if  possible, 
be  represented  in  every  gymnastic  lesson. 


B.     Ann  Support  Exercises. 

These  comprise  the  front  rest,  back  rest  and  cross  rest  positions 
and  their  derivations.  While  employing  the  same  muscles  as 
those  principally  active  in  the  suspension  exercises  (with  the  ex- 
ception that  the  triceps  takes  the  place  of  the  biceps  and  the  del- 
toid is  inactive),  they  do  so  in  an  entirely  different  way.  The 
pectorals  and  rhomboids  are  especially  active,  and  unless  the  latter 
are  reenforced  by  adequate  and  well-controlled  action  of  the 
trapezius  and  latissimus,  the  pectorals  tend  to  contract  excessively 


116  GYMNASTIC  TEACHING 

with  resultant  malposition  of  the  shoulder  girdle,  chest  and  upper 
back.  The  arm  support  exercises  should  not,  therefore,  be  classed 
with  suspension  exercises,  but  rather  be  put  in  a  group  by  them- 
selves, even  though  it  is  true  that  they  often  form  a  component 
part  of  many  complex  suspension  exercises — especially  on  the 
horizontal  bar  and  rings.  Because  of  their  relative  difficulty  and 
their  objectionable  tendencies  they  should  be  used  with  caution, 
and  not  until  the  proper  strength  and  control  of  all  the  upper 
trunk  muscles,  especially  the  scapular,  have  been  acquired.  This 
applies  particularly  to  such  types  as  circles,  feints  and  the  more 
difficult  feats  on  the  horse ;  traveling,  repeated  swings,  "dips," 
etc.,  from  the  cross  rest  position  on  the  parallel  bars ;  and  also 
many  similar  positions  and  movements  on  the  horizontal  bar  and 
rings.  The  majority  of  such  exercises  are  conducive  to  an  unde- 
sirable kind  of  muscular  development  as  well  as  faulty  posture, 
and  their  practice  should  be  discouraged. 

On  the  other  hand,  arm  support  exercises  find  their  most  useful 
and  unobjectionable  application  in  vaults  on  the  different  appara- 
tus. For  in  these  the  support  on  the  arms  is  only  brief,  and  the 
work  of  the  shoulder  blade  muscles  is  materially  aided  by  the 
momentum  gained  in  the  spring  from  the  floor.  This  makes  the 
maintenance  of  correct  position  of  shoulder  and  chest  less  diffi- 
cult. 

C.     Jumping  and  Vaulting. 

The  common  characteristics  of  exercises  of  this  class  are  great 
intensity  and  wide  distribution  of  muscular  work,  which,  while 
usually  somewhat  intermittent,  may  and  should  be  made  continu- 
ous enough  to  produce  marked  organic  stimulation.  The  various 
types  also  represent  many  or  all  of  the  special  features  of  leg, 
back,  abdominal,  lateral  trunk  and  arm  support  exercises,  while 
some  types  are  even  related  to  suspension  exercises.  They  all  de- 
mand and  cultivate  a  high  degree  of  coordination — well-timed  and 
properly  gauged  muscular  efforts,  involving  accurate  judgment 
of  height,  distance  and  bodily  momentum,  as  well  as  a  keen  sense 
of  equilibrium.  In  this  last  respect  they  may  be  considered  ad- 
vanced balance  exercises. 

The  training  of  coordination  which  is  such  a  pronounced  fea- 
ture of  this  class  of  exercises  relates  not  only  to  the  proper  posi- 
tion of  the  parts  of  the  body  with  reference  to  each  other,  but  of 
the  body  as  a  whole  with  reference  to  space  or  to  external  objects. 
It  is  subjective  motor  training,  but  differs  from  that  furnished  by 
free-standing  gymnastic  exercises  in  that  the  body  as  a  whole  is 
moving.  This  involves  many  factors  which  are  either  absent  or 
only  present  to  a  slight  extent  in  most  free-standing  exercises. 


CLASSIFICATION  117 

Such  are,  for  example,  judgment  of  height  and  distance  to  be 
traversed  by  the  body ;  of  speed  and  bodily  momentum  to  be  de- 
veloped and  managed  to  best  advantage ;  of  the  best  weight  dis- 
tribution over  the  point  of  support  and  the  proper  sequence  of 
widely  different  muscular  efforts  in  order  to  gain  the  most  advan- 
tageous leverage,  to  increase  or  deflect  momentum,  to  control  the 
poise  of  the  body,  etc.  Of  course,  the  eye  is  a  large  factor  in  the 
complex  nervous  processes  which  enter  into  these  coordinations. 
But  the  kinesthetic  sense  (a  term  used  to  designate  the  perception 
of  sensations  conveyed  by  the  numerous  and  varied  afferent  ner- 
vous impulses  from  the  muscles  and  joints)  is  even  of  more  im- 
portance than  the  sense  of  sight.  The  training  of  this  kinesthetic 
sense  is  a  feature  of  all  gymnastic  exercises,  but  more  so  in  this 
than  any  other  class. 

The  result  of  abundant  practice  of  this  class  of  exercises  should 
be  an  increase  of  agility.  With  this  is  meant  ability  to  manage 
the  body  when  in  motion,  on  the  feet  or  propelled  by  the  feet 
from  the  ground,  with  or  without  the  aid  of  the  arms.  When  the 
legs  alone  are  used  to  give  the  body  the  necessary  momentum  to 
traverse  a  given  space  we  call  it  jumping.  When  the  arms  are 
used  to  assist  in  propelling  or  in  guiding  the  movement  we  call  it : 
(1)  Vaulting,  if  the  arms  are  used  to  support  the  body;  (2) 
siving  jump  (underswing,  hang  jump  or  some  such  term)  when 
the  body  is  momentarily  suspended  on  the  arms. 

The  different  types  of  exercises  belonging  to  this  group  are : 
(1)  Running  and  standing  high  and  broad  jump;  hop,  step  and 
jump ;  sideways  and  backward  jumps ;  all  to  be  executed  in  speci- 
fied form  while  in  the  air  and  on  landing,  as  well  as  for  height  or 
distance.  (2)  Vertical  vaults  such  as  (front  and  rear)  squat  and 
straddle  vaults  and  their  combinations  (wolf  vault)  ;  knee  vault; 
front  (sheep)  vault;  jump  (thief)  vault;  the  horizontal  vaults — 
face,  side  and  back  (and  oblique)  vaults  (or  front,  flank  and 
rear  vaults  as  they  are  usually  called).  These  may  be  executed 
on  the  side  or  long  horse,  buck,  vaulting  box,  parallel  bars,  sad- 
dle boom,  low  horizontal  bar  or  boom ;  with  or  without  a  prelimi- 
nary run  (preferably  with).  In  all  there  is  only  a  momentary  or 
relatively  brief  period  of  support  on  the  arms.  In  the  vertical 
vaults  (and  the  mounts  of  the  same  name)  the  briefer  the  period 
of  support  the  more  does  the  action  of  the  arms  resemble  the 
spring  of  the  legs,  the  more  animated  and  vigorous  does  the  ex- 
ercise become  and  the  greater  are  the  chances  for  an  erect  posi- 
tion of  the  whole  body,  with  good  posture  of  head,  chest  and 
shoulders  during  its  performance.  (3)  Standing  or  (preferably) 
running  swing  jumps  with  the  use  of  flying  rings,  ropes  (one  or 
two),  horizontal  bar,  boom,  double  boom,  suspended  parallel  bars 
and  horizontal  ladder.  Here  the  body  is  momentarily  suspended 


118  GYMNASTIC  TEACHING 

on  the  arms,  following  the  spring  from  the  feet.  (4)  Mixed  types 
of  vaults  and  suspension  exercises,  such  as  side,  back  and  oblique 
vaults  on  the  double  boom,  with  suspension  on  one  arm  and  sup- 
port on  the  other — very  valuable  and  interesting  exercises  of  a 
truly  all-round  character.  (5)  Elementary  and  more  advanced 
tumbling,  such  as  forward  and  backward  rolls,  dives,  headspring, 
handsprings,  cartwheels  and  somersaults. 

In  general,  the  muscular  efforts  in  all  these  exercises  are  widely 
distributed,  relatively  violent  and  of  short  duration,  with  com- 
paratively long  intervals  of  rest.  If  the  efforts  succeed  each  other 
too  rapidly  and  are  continued  for  any  length  of  time,  the  limit  at 
which  circulation  and  respiration  can  keep  pace  with  the  muscular 
work  is  soon  reached.  It  is  not  wise  to  carry  the  exertion  to  the 
point  of  extreme  breathlessness.  Too  large  doses  of  this  type  of 
work  are  also  liable  to  produce  excessive  fatigue.  In  class-teach- 
ing, however,  the  danger  of  overdoing  is  not  very  great,  as  it  is 
usually  found  difficult  to  sub-divide  the  class  into  sufficiently  small 
squads  to  allow  too  frequent  repetitions  of  the  exercises.  The 
trouble  is  more  often  the  other  way — too  large  squads,  inade- 
quate leadership  and,  therefore,  too  long  time  between  turns  and 
not  sufficient  continuity  of  the  work.  But  when  teaching  small 
groups,  or  in  individual  practice  outside  of  class,  the  danger  of 
overdoing  should  be  borne  in  mind.  Of  course,  pupils  with  weak 
hearts  or  abdominal  walls  should  not  be  allowed  to  practice  exer- 
cises of  this  class  without  careful  supervision  and  guidance  as 
regards  kind  and  amount. 

D.     Stall  Bar  and  Pulley  ] V eight  E.vcrciscs. 

With  small  classes  and  sufficient  number  of  stall  bars  the  class 
may  be  handled  as  a  unit  when  giving  stall  bar  exercises.  The 
same  is  true  of  chest  weight  exercises.  \Yhen  the  apparatus  is 
too  limited  for  this,  the  exercises  may  be  given,  in  turn,  to  the 
different  squads.  In  any  case  the  work  is  handled  much  the  same 
as  free-standing  exercises :  done  in  unison  by  the  class  or  squad, 
either  as  response  movements  on  signals,  or,  preferably,  in 
rhythm.  Their  best  place  in  the  lesson  is  before  the  jumping 
and  vaulting. 

The  principal  types  of  stall  bar  exercises  suitable  for  class 
work  are : 

Hanging  (back  to  the  bars)  alternate,  or  double,  knee  upward 
bending,  leg  raising,  knee  upward  bending  and  stretching. 

Also  double  knee  upward  bending  combined  with  side-swing 
rind  trunk  twisting. 

Prone  lying  position  (on  benches),  with  arms  in  various  posi- 
tions, and  forward  bending  from  the  hips. 


CLASSIFICATION  119 

Foot  grasp  sitting  backward  leaning. 

Foot  grasp  side  lying  side  bending. 

Grasp  side  opposite  standing  leg  flinging  sideways. 

These  are  vigorous  abdominal,  back  and  lateral  trunk  exercises, 
and  can  be  made  interesting  chiefly  because  of  the  hard  work  and 
the  consequent  strength  and  development  they  represent. 

The  stall  bars  may  also  be  used  for  climbing  and  other  suspen- 
sion exercises  of  an  elementary  character,  especially  with  classes 
of  children.  Running  up  and  down  inclined  boards  fastened  to 
the  stall  bars  at  various  angles  can  be  made  to  furnish  abundant 
general  exercise  and  a  good  deal  of  fun  to  a  class  of  children. 

Pulley  weight  exercises  represent  predominantly  shoulder  work, 
with  considerable  back  or  abdominal  work  according  to  the  posi- 
tion— facing  or  back  to  the  weights,  respectively.  Trunk  twist- 
ing, forward-downward  bending,  side  bending  and  knee  bending 
are  also  suitable  as  alternations  with  the  arm  movements. 


IV.       RUNNING  AND  RUNNING   GAMES. 

A  short  run  may  be  used  to  begin  the  lesson,  especially  on  a 
cold  day,  serving  then  the  purpose  of  general  stimulation  or  lit- 
erally of  warming  up.  Or  it  may  be  put  in  at  (or  just  before)  the 
end,  and  thus  by  emphasizing  and  "clinching"  the  organic  effects 
serve  as  a  fitting  culmination  of  the  lesson.  This  is  highly  desira- 
ble at  all  times  and  especially  when  the  jumping  and  vaulting  ex- 
ercises have  been  inadequate  as  means  of  organic  stimulation, 
owing  to  lack  of  time,  space,  apparatus  or  proper  leadership. 

Systematic  practice  of  running  is  undoubtedly  one  of  the  best 
means — if  not  the  best — to  improve  "the  wind,"  i.e.,  to  strengthen 
the  heart  and  respiratory  organs,  to  increase  the  power  of  prompt 
and  perfect  adjustment  of  the  whole  circulatory  system  to  vary- 
ing degrees  of  activity — in  short,  to  bring  this  most  important  of 
all  bodily  mechanisms  to  a  high  state  of  efficiency  and  to  keep  it 
so.  Such  efficiency  is  so  intimately  connected  with,  and  basic  to, 
the  health  and  proper  functioning  of  all  other  organs,  that  in  a 
very  real  sense  it  is  the  conditioning  factor  and  index  of  endur- 
ance, vitality  and  general  bodily  condition. 

While  done  in  unison — keeping  time  and  step — class  run- 
ning affords  opportunity  for  teaching  the  rudiments  of  good  form 
in  running,  such  as  a  long,  swinging  stride,  free  hip,  knee  and 
arm  action,  elimination  of  "chopping1'  and  throwing  the  feet  up 
behind,  toeing  out,  etc. 

In  view  of  the  ease  with  which  pronounced  organic  stimulation 
may  be  produced  by  running,  and  the  comparative  facility  with 
which  the  amount  and  intensity  of  these  effects  may  be  gauged 


120  GYMNASTIC  TEACHING 

and  regulated,  as  well  as  the  almost  universal  availability  of  this 
form  of  exercise,  no  gymnastic  lesson  should  be  considered  com- 
plete without  it. 

Breathing  Exercises. 

Jt  may  not  always  be  desirable,  or  even  safe,  to  dismiss  a  class 
while  in  a  state  of  high  organic  activity — heart  and  lungs  working 
hard,  skin  flushed  and  perspiring.  If  the  jumping,  vaulting  and 
running  have  been  vigorous  and  prolonged  enough  to  produce 
such  a  marked  general  reaction,  it  is  usually  best  to  keep  the 
class  a  few  minutes  more,  until  the  circulation  and  respiration 
have  begun  to  return  to  normal.  This  reduces  the  chances  for 
accidents  in  the  way  of  possible  injury  to  weak  hearts  when  tak- 
ing a  bath.  (Where  there  are  no  facilities  for  bathing  it  is  per- 
haps best  not  to  carry  the  organic  stimulation  to  a  point  involving 
too  great  activity  of  the  skin.)  To  facilitate  the  return  to  a  more 
quiet  and  normal  bodily  condition  the  lesson  may  be  concluded 
with  a  few  exercises  of  progressively  diminishing  intensity,  and 
which  at  the  same  time  call  into  use  all  the  auxiliary  forces  of  the 
circulation. 

The  kinds  of  exercises  most  suitable  for  this  purpose  are  rhyth- 
mic leg  movements  such  as  ordinary  marching,  toe  marching  and 
"balance"  marching;  the  different  arm  raisings,  rotations  and 
stretchings  in  slow  breathing  rhythm,  or  combination  of  these 
with  heel  raising.  Simple,  deep  and  slow  breathing,  without  any 
arm  or  leg  movements,  but  preferably  with  a  slight  backward 
moving  of  head,  is  perhaps  as  effective  a  respiratory  exercise  as 
any.  It  may  very  well  be  the  last,  as  well  as  the  first,  exercise  of 
the  lesson.  The  different  types  of  breathing — upper  chest,  lower 
(lateral)  chest  and  so-called  abdominal — may  also  be  given  spe- 
cial practice.  Placing  the  hands  on  the  parts  indicated  helps  to 
"localize"  the  breathing. 

By  the  alternating  contractions  and  relaxations  of  large  muscu- 
lar masses  and  the  alternating  flexion  and  extension  in  the  joints 
involved  in  rhythmic  leg  and  arm  movements,  the  valvular  mech- 
anism in  the  veins  of  the  extremities  is  made  to  do  full  duty, 
thereby  reducing  the  peripheral  resistance  to  be  overcome  by  the 
heart.  Similarly,  the  deep,  measured  breathing  causes  a  more 
powerful  thoracic  aspiration— literally  a  suction  exerted  on  the 
great  veins  entering  the  chest — than  shallow,  rapid  breathing.  All 
these  factors  aid  the  venous  and  lymphatic  flow,  supply  the  means 
for  a  greater  output  at  each  systole,  and  so  materially  ease  or  at 
least  steady  the  heart's  action.  Blood  pressure  falls  more  gradu- 
ally and  evenly,  and  without  the  preliminary  rise  which  probably 
always  occurs  when  violent  exercise  suddenly  ceases. 


CONTENT  AND  CHARACTER  121 

While  breathing  exercises  do  not  cause  more  oxygen  to  be 
taken  up  by  the  blood  passing  through  the  lungs,  as  is  popularly 
supposed  (the  arterial  blood  at  all  times  being  practically  satu- 
rated with  oxygen),  they  are  valuable  for  many  other  reasons. 
Besides  aiding  the  circulation  they  cultivate  mobility  of  the  chest ; 
cause  a  free  flow  of  blood  and  lymph  in  the  more  remote  and  less 
completely  used  portions  of  the  lungs  and  so  favor  the  nutrition 
of  these  parts ;  they  lead  to  a  straightening  of  the  thoracic  spine, 
and  a  strengthening  of  the  muscles  of  inspiration ;  by  the  more 
complete  descent  of  the  diaphragm  and  the  greater  variations  in 
intra-abdominal  pressure  they  influence  favorably  the  functions 
of  the  liver  and  other  abdominal  organs.  They  also  give  oppor- 
tunity for  training  the  whole  breathing  mechanism  to  efficient  and 
economical  action. 

The  arm  movements,  while  not  increasing  the  total  capacity  of 
the  chest,  undoubtedly  lead  to  maximum  expansion  of  the  upper 
chest  and  encourage  lateral  costal  breathing.  In  all  these  respects 
breathing  exercises  are  most  effective  at  a  time  when  the  body,  as 
a  result  of  vigorous  exercise,  demands  plenty  of  air  and  the  res- 
piratory centers  are  extremely  active. 


4.     THE  CONTENT  AND  CHARACTER  OK  THE  GYMNASTIC  LESSON. 

A  gymnastic  lesson  should  not  be  merely  a  certain  number  of 
exercises  chosen  at  random  or  on  the  spur  of  the  moment,  and 
arranged  in  a  haphazard  manner  as  the  fancy  or  impulse  of  the 
teacher  dictates.  When  that  is  the  case  loss  of  interest  and  dis- 
satisfaction are  sure  to  occur  sooner  or  later.  Nor  is  it  advisable 
to  use  habitually  and  under  different  conditions  standard  collec- 
tions of  exercises  or  "drills,"  however  well  chosen  and  arranged 
they  may  be  for  a  given  set  of  conditions.  The  only  occasion 
for  continued  practice  of  set  and  memorized  "drills"  is  in  cases 
where  merely  muscular  exercise  for  the  sake  of  organic  reaction 
is  wanted  (or  as  a  preparation  for  eventual  public  performance). 
But  even  under  such  conditions  it  will  usually  be  found  wise,  for 
the  sake  of  conserving  interest,  if  for  no  other  reason,  to  make 
the  lessons  varied  and  progressive. 

When  equal  emphasis  is  to  be  placed  on  all  phases  of  the  work, 
the  construction  and  progression  of  gymnastic  lessons  become 
one  of  the  most  important  as  well  as  most  interesting  parts  of  the 
teacher's  work.  Each  lesson  should  then  be  the  concrete  expres- 
sion of  a  definite  hygienic  and  educational  thought.  It  should 
embody  the  teacher's  ideals,  standards  and  special  knowledge  ;  it 
should  represent  his  understanding  of  the  conditions  to  be  met 


122  GYMNASTIC  TEACHING 

and  his  best  judgment  of  how  the  pupils'  time  and  efforts  are  to 
be  utilized  to  the  fullest  advantage. 

While  every  class  represents  a  special  set  of  conditions  to  be 
met  in  the  arrangement  of  each  lesson,  a  few  general  principles 
are  applicable  to  most  conditions. 

1.  Proper  distribution  of  work.     Do  not  work  the  class  so 
hard  in  the  beginning  of  the  lesson  that  a  considerable  number  of 
pupils  will  be  unable  to  do  justice  to  the  last  part.     Begin  with 
work  of  moderate  intensity  and  increase  gradually.     This  applies 
to  both  general  and  local  exercises. 

If,  for  example,  general  organic  work  is  begun  too  suddenly,  or 
in  too  large  doses,  it  might  be  necessary  to  slacken  the  pace  after 
a  while.  Any  such  reduction  in  the  rate  of  the  muscular  activity 
(except  for  very  brief  periods)  means  more  or  less  of  a  loss  of 
accumulated  organic  effects.  The  resulting  cooling  off  and  partial 
drying  give  rise  to  unsatisfactory  general  feelings,  a  sense  of  las- 
situde and  disagreeable  fatigue.  From  the  standpoint  of  organic 
stimulation  it  is  always  most  satisfactory  to  increase  the  quantity 
and  intensity  of  the  muscular  work  by  gradual  steps,  and  to  finish 
the  lesson  with  the  class  in  a  state  of  bodily  exhilaration,  with  all 
the  main  functions — circulation,  respiration  and  elmination — 
fairly  active  or  just  beginning  to  subside  to  normal.  Then  the 
bath  is  most  enjoyable  and  refreshing,  fatigue  is  less  marked,  or 
is  so  mingled  with  a  sense  of  general  well-being  as  to  be  pleasant 
rather  than  otherwise,  and  the  danger  of  taking  cold  is  lessened. 

2.  Warming  up.     Again,  we  might  begin  with  exercises  de- 
manding short,  violent,  maximal  efforts  with  comparatively  long 
intervals  of  rest,  as,  for  example,  jumping,  vaulting  or  climbing; 
or  very  powerful  local  exercises,  such  as  strong   abdominal  or 
suspension  exercises.     Such  a  course  would  be  inadvisable   for 
several  reasons. 

In  the  first  place,  it  is  always  more  or  less  of  a  strain  on  the 
heart  and  arteries  to  have  sudden,  great  demands  made  upon 
them.  It  takes  a  little  time  for  the  circulatory  mechanism  to  ad- 
just itself  to  the  varying  needs  of  the  organism.  Sudden,  violent 
exertion  while  the  arterial  tension  is  low  and  the  heart  is  beating 
at  a  moderate  rate  and  not  very  powerfully,  may  cause  disagree- 
able subjective  symptoms  and  is  not  beneficial  to  the  heart  and 
arteries.  An  illustration  of  this  is  the  painful  throbbing  in  the 
side  and  front  of  the  neck  so  common  after  a  violent  exercise  (for 
example,  on  the  horizontal  bar)  has  been  performed  without  any 
preparation. 

In  the  second  place,  the  muscles  do  not  work  to  good  advan- 
tage under  >uch  conditions.  To  do  their  best  work  the  blood 
supply  of  the  muscles  must  be  commensurate  with  the  amount  of 
work  they  arc  called  upon  to  do.  Such  is  not  the  case  when  the 


CONTENT  AND  CHARACTER  123 

work  consists  of  violent  efforts  at  comparatively  long  intervals 
and  without  preparation.  Under  such  circumstances  disagreeable 
soreness  and  actual  strain  are  very  apt  to  occur.  It  has  been  sug- 
gested that  the  liability  to  strain  may  be  due  to  a  failure  of  all 
the  fibers  of  the  muscles  to  contract  simultaneously,  a  small  num- 
ber or  small  portions  of  the  muscles  being  a  little  ahead  or  behind 
and  therefore  pulling  too  hard  and  sustaining  injury.  However 
that  may  be,  it  is  a  fact  that  the  peculiar  kind  of  soreness  which 
is  felt  immediately  and  often  lasts  a  long  time  usually  occurs 
when  a  violent  local  effort  is  made  without  any  previous  ''limber- 
ing up." 

The  inadvisibility  of  beginning  work  too  suddenly,  be  it  local 
or  general,  is  universally  recognized.  Trainers  of  men  and  horses 
are  well  aware  of  the  necessity  for  "warming  up"  before  putting 
their  charges  into  action.  It  is  economical  to  expend  a  little  en- 
ergy in  this  way,  because  such  preparatory  work  starts  up  the 
vital  machinery  and  gets  it  running  smoothly  before  being  sub- 
jected to  the  real  stress.  Emotion  may  serve  the  same  purpose, 
e.g.,  anger,  fear  or  other  excitement. 

The  element  of  coordination  should  also  be  considered.  We 
cannot,  for  example,  do  delicate  work  immediately  after  violent 
exertion.  On  the  other  hand,  it  is  more  difficult  to  control  mo- 
mentum, make  the  right  kind  and  amount  of  effort  and  coordinate 
properly  in  a  difficult  exercise  without  preparation  than  when 
preliminary  work  has  been  done.  Gradual  warming  up  and  ju- 
dicious distribution  of  the  work  are  therefore  of  advantage  from 
the  standpoint  of  economy,  less  liability  to  strain,  better  effect  on 
muscles  and  organs,  better  coordination,  better  \vork. 

3.  Progressive  organic  activity  as  a  guide  and  index  of  the 
rate  of  U'ork.  In  a  quiet  condition,  such  as  obtains  when  sitting 
down,  reading,  etc..  the  bulk  of  the  blood  is  in  the  cavities  of  the 
body — abdomen,  chest,  head.  The  venous  and  lymphatic  circu- 
lations are  sluggish.  In  order  to  do  vigorous  muscular  work  the 
bulk  of  the  blood  must  be  flowing  through  the  muscles  at  a  fast 
rate  and  high  pressure.  This  change  of  relative  accumulation  and 
increase  in  rate  of  flow  and  pressure  begin  to  take  place  soon 
after  active  work  has  started ;  the  muscular  arterioles  dilate  and 
the  local  pressure  (in  the  muscular  arteries)  rises  (this  is  also 
true  of  the  cutaneous  vascular  area),  while  the  arteries  of  the 
great  cavities,  notably  those  of  the  abdominal  cavity  (the  so- 
called  splanchnic  area),  become  more  constricted. 

In  order  to  make  this  circulatory  adjustment  in  the  most  satis- 
factory way,  and  always  sufficient  to  correspond  to  the  amount 
of  work  demanded  from  the  muscles,  the  lesson  is  begun  with 
exercises  involving  only  a  moderate  expenditure  of  energy  at  any 
given  moment,  but  of  a  continuous  character  (such  as  marching). 


124  GYMNASTIC  TEACHING 

These  are  followed  by  exercises  of  gradually  increasing  intensity, 
until  the  circulatory  and  respiratory  organs  have  reached  the  rate 
of  activity  which  corresponds  to  the  greatest  demands  we  intend 
to  make  on  the  muscles.  This  state  of  activity  is  then  kept  up 
for  as  long  a  time  as  seems  wise  or  practicable.  The  lesson  may 
then  be  concluded  with  a  few  exercises  of  less  intensity,  calcu- 
lated to  aid  circulation  and  respiration  and  to  help  bring  the  body 
back  to  an  approximately  normal  condition,  without,  however,  los- 
ing the  accumulated  reactions — such  as  warmth,  flushing,  perspi- 
ration— to  any  considerable  extent,  unless  special  conditions  so 
demand.  Often  the  final  tapering-off  exercises  may  be  omitted, 
the  walking  back  to  the  dressing  room,  changing  of  clothes  or 
undressing  and  taking  a  bath  serving  the  same  purpose. 

Occasionally  it  may  be  advisable  to  begin  more  abruptly — e.g., 
with  a  short  run — by  way  of  stimulation,  especially  in  cold 
weather.  But  do  not  make  it  too  long. 

The  expenditure  of  nervous  energy — represented  by  the  amount 
of  attention,  coordination  and  "pure"  mental  work  involved  in 
the  exercises — also  varies,  but  does  not  necessarily  follow  the 
curve  of  organic  activity.  For  reasons  which  have  already  been 
discussed  (see  Marching)  it  is  generally  advisable  to  begin  fairly 
suddenly  in  this  respect,  giving  work  which  demands  considerable 
mental  concentration,  especially  as  regards  attention.  It  is  neces- 
sary thus  to  focus  and  stimulate  the  attention  in  order  to  produce 
the  proper  mental  attitude  and  cooperation  for  the  work  that  is 
to  follow.  Later  it  may  be  well  to  ease  up  a  little  in  this  respect, 
directing  the  mental  efforts  more  to  the  actual  doing  of  vigorous 
work  than  to  alertness  and  readiness  for  rapid  changes.  The  ele- 
ment of  difficulty  of  coordination  also  varies,  often  being  in  in- 
verse proportion  to  the  intensity  of  organic  action  or  localized 
muscular  work,  but  in  a  general  way  there  should  be  a  progres- 
sive increase  in  this  respect,  the  more  complex  and  difficult  exer- 
cises being  placed  near  the  end. 

4.  All-round  character  of  tJie  gymnastic  lesson.  It  is  gen- 
erally better  to  have  each  lesson  represent  all-round  exercise  than 
have  a  preponderance  of  one  kind  of  work  in  one  lesson  and 
another  kind  in  the  next,  and  so  on.  Even  if  the  time  allotted  is 
scant  and  the  lesson  in  consequence  must  be  short,  it  is  always 
possible,  by  careful  planning  and  selection,  to  have  all  the  main 
features  embodied  in  the  different  classes  of  exercises  (described 
in  a  previous  chapter)  represented  more  or  less  adequately  in 
each  lesson.  Rounding  out  a  lesson  in  this  manner  not  only  gives 
greater  immediate  satisfaction  to  the  pupils  in  the  way  of  bodily 
sensations  and  reactions,  and  avoids  excessive  local  fatigue,  but 
also  insures  variety  and  so  helps  sustain  attention  and  conserve 
interest. 


CONTENT  AND  CHARACTER  125 

When  time  allows,  it  is  wise  to  have  each  one  of  the  main 
groups  of  exercises  represented,  some  of  them — especially  the 
various  trunk  movements — more  than  once.  When  repetition  of 
any  given  class  of  exercises  is  deemed  advisable,  the  types  chosen 
should  preferably  be  as  different  as  possible.  They  may  be  given 
successively  or  alternate  with  representatives  of  other  groups. 
The  latter  is  usually  preferable,  as  it  facilitates  proper  distribu- 
tion of  the  muscular  work  and  the  progressive  increase  in  its  in- 
tensity. Occasionally  it  may  be  advisable  to  give  two  or  more 
exercises  belonging  to  the  same  group  successively  in  order  to  get 
sufficiently  pronounced  local  effects  without  too  much  repetition 
of  the  same  exercise.  Or  it  may  be  done  as  a  matter  of  conven- 
ience, e.g.,  in  apparatus  work.  Here  there  are  usually  sufficient 
intervals  of  rest  between  the  exercises  to  avoid  excessive  local  or 
general  fatigue. 

The  groups  of  exercises  which  it  is  most  desirable  to  have 
abundantly  represented  usually  include  a  number  of  widely  differ- 
ing types,  or  types  of  an  all-round  character.  Such  is  the  case, 
for  example,  in  the  groups  called  lower  back  stretching  exercises, 
lateral  trunk  exercises  and  charges.  It  is  also  true  of  so-called 
"mixed"  suspension  exercises,  such  as  climbing  on  ropes  and 
ladders,  and  of  jumping  and  vaulting.  Aside  from  emphasizing 
some  very  desirable  features  more  or  less  neglected  in  ordinary 
activities,  repeated  occurrence  of  such  exercises  may  be  made  to 
contribute  to  the  all-round  character  of  the  lesson. 

5.  General  lesson  plan.  When  the  amount  of  time  and  the 
equipment  are  such  as  to  allow  a  complete  and  elaborate  lesson, 
including  apparatus  work,  some  such  general  plan  as  that  used 
in  German  gymnastics  and  also  more  or  less  in  Y.  M.  C.  A.  work 
seems  on  the  whole  most  satisfactory  and  best  suited  to  the  con- 
ditions in  this  country.  Such  a  plan  would  comprise  at  least  two, 
sometimes  three  or  four,  main  divisions  of  the  lesson,  viz.,  march- 
ing, free-standing  exercises,  apparatus  work,  a  run  or  running 
game  or  a  dance. 

The  amount  of  time  allotted  to  each  division  will,  of  course, 
vary  with  the  age,  sex,  interests,  etc.,  of  the  class,  and  with  the 
total  amount  of  time  given  to  the  lesson.  In  schools  and  colleges 
where  from  thirty-five  to  forty-five  minutes  of  actual  working 
time  is  available,  from  five  to  ten  minutes  may  profitably  be 
spent  on  marching,  twelve  to  eighteen  minutes  on  free-standing 
exercises,  twelve  to  eighteen  minutes  on  apparatus  work  and  two 
to  five  minutes  on  the  final  run,  marching  and  breathing  exer- 
cises. A  game  or  a  dance  would  usually  take  more  time  than  a 
run.  This  might  be  gained  by  correspondingly  shortening  one  or 
all  of  the  other  divisions.  When  there  is  no  apparatus,  the  time 
given  to  the  other  parts  may  be  increased.  Or  a  game  of  vigor- 


126  GYMNASTIC  TEACHING 

cms  character  or  some  form  of  athletic  competition,  balance  and 
suppleness  tests  may  be  substituted.  Or  one  or  more  of  these 
may  be  given  regularly  as  a  part  of  the  lesson. 

6.  .-Irrangemcnt.      For    reasons    already    stated    some    lively 
marching,  when  feasible,  seems  to  be  the  most  suitable  introduc- 
tory exercise.    This  is  followed  by  a  series  of  from  seven  to  six- 
teen free-standing  exercises,  individually  of  as  varied  character 
but  collectively  as  comprehensive  as  possible.     Indeed,  this  series 
should  in  itself  be  a  complete  though  more  or  less  abbreviated 
lesson. 

\Yhile  serving  partly  the  purpose  of  preparation — warming  up 
—for  the  more  powerful  apparatus  exercises,  this  preliminary 
series  of  free-standing  exercises  should  be  so  selected,  planned 
and  taught  as  to  emphasize  and  give  large  returns  in  posture  and 
general  subjective  motor  training.  It  is  through  these  free-stand- 
ing, definite,  more  or  less  localized  movements,  that  kinesthetic 
sense  training  (especially  as  applied  to  posture),  that  localized 
muscular  control  and  harmonious  muscular  development,  are 
chiefly  to  be  attained.  In  these  ensemble  movements,  too,  the 
spirit  of  cooperation  and  united  group  action  is  fostered,  the  at- 
tention and  will  are  trained  and  pupils  are  encouraged  to  form 
habits  of  discipline,  order  and  alacrity.  In  striving  to  make  the 
exercises  effective  in  all  these  respects,  as  well  as  in  the  way  of 
vigorous  organic  stimulation,  the  teacher  finds  scope  for  all  his 
technical  knowledge  and  teaching  skill,  all  his  enthusiasm  and 
vitality,  in  short,  for  the  fullest  expression  of  his  whole  personal- 
ity. 

7.  The  outline  of  the  series  of  free-standing  exercises  has  been 
indicated  in  the  discussion  of  the  different  classes  of  movements. 
Their  order  and  sequence  are  approximately  the  same  as  that  in 
which  they  were  enumerated.     A  leg  movement  or  two,  prefer- 
ably combined  with  arm  movements,  seems  the  most  suitable  way 
to  begin  the  series,  because  exercises  of  this  class  are  especially 
effective  in  equalizing  the  circulation,  and  also  because  they  can 
be  presented  and  executed  in  a  brisk  and  lively  manner  and  so  get 
the  pupils   into   the   work   most   readily.      After   these   an   upper 
back  and  then  a  lower  back  stretching  exercise  fit  in  very  well, 
the  former  by  way  of  suggesting  good  posture,  inducing  a  gen- 
eral  straightening  or  stretching  and  good  chest  expansion  ;   the 
latter  similarly  limbering  up  and   straightening  the  lower  back, 
as  well  as  contributing  to  the  gradual  increase  of  general  muscu- 
lar work,  especially  when  repeated  rhythmically.     After  this  the 
order    is    immaterial ;    however,    a   lateral    trunk    exercise    seems 
most  satisfying  at  this  point.     Next  may  follow  a  shoulder  blade 
exercise   (e.g.,  arm  bending  and  stretching),  then  a  balance  ex- 
ercise.  an  abdominal,  a  second  lateral  trunk  and  a  general  back 


CONTENT  AND  CHARACTER  127 

exercise  or  a  charge  or  other  all-round  movement ;  then  perhaps 
a  second  abdominal  exercise  and  finally  a  toe  jump,  a  run  in  place 
or  a  free-standing  jump,  followed  by  a  breathing  exercise  to  con- 
clude the  series. 

8.  Modifications.     It  will  not  always  be  feasible  or  even  de- 
sirable to  use  as  many  free-standing  exercises  in  one  lesson  as 
indicated   in  the  preceding  paragraph.     If  the  majority  of  the 
movements  (often  combined  or  alternated  with  arm  movements) 
are  well  executed  and  repeated  rhythmically  a  considerable  num- 
ber of  times,  the  quantity  of  muscular  work  represented  by  such 
a  series  might  easily  exceed  the  strength  or  endurance  of  the 
class.      In  any  case   such  a  series   would  take    from   fifteen   to 
twenty  minutes  to  teach  adequately.     It  would  be  suitable  for  a 
lesson  in  which  there  is  to  be  no  apparatus  work,  or  possibly  as 
preliminary  work  in  a  lesson  with  apparatus   for  strong,   well- 
trained  classes    (of  young  men,    for  example),   in   which   there 
would  be  no  question  of  ability  to  stand  hard  and   fast  work. 
But  ordinarily  a  series  of  nine  or  ten  exercises  is  sufficient.     Oc- 
casionally it  may  be  necessary  to  give  even  a  smaller  number.   One 
introductory  leg  and  arm  movement,  instead  of  two,  would  then 
be  sufficient.    The  special  shoulder  blade,  the  balance,  the  second 
abdominal  or  the  general  back  exercise,  one  or  all,  or  the  jump- 
ing and  breathing  exercise  may  then  be  omitted.     The  all-round 
character  of  the  series  may  still  be  preserved  by  choosing  types 
and  combinations  which  embody  the  features  of  several  classes 
of  movements.     This  is  not  difficult  when  the  principles  of  com- 
bination and  alternation  of  definite  rhythmic  exercises  are  prop- 
erly applied. 

9.  Variety  in  selection,  combination  and  sequence.     While  it 
is  of  advantage  to  have  some  such  general  plan  or  outline  in  mind 
as  a  guide  in  the  selection  and  arrangement  of  the  free-standing 
exercises,  the  exact  order  and  sequence  in  which  the  representa- 
tives of  the  different  groups   are   arranged    (at  least   after  the 
lower  back  stretching  exercise),  need  not  be  constant.     In  fact, 
it  will  necessarily  be  varied  if  good  progression  and  proper  dis- 
tribution are  given  due  consideration.     Then  the  order  will  be 
determined  by  two  main  factors.     The  first  of  these  is  the  rela- 
tive intensity  of  the  exercise,  its  suitability  with  reference  to  pro- 
gressive organic  stimulation.     The  other  may  be  summed  up  in 
the  one  word  variety.    Make  the  selection  and  arrangement  such 
that  each  exercise  shall  be  strikingly  different  from  the  preceding 
and  following.    Vary  the  style,  the  type,  the  muscular  localization. 
the  rhythm  and  even  the  appearance  of  successive  exercises.     If 
for  any  reason  it  is  necessary  to  have  two  or  more  which  closely 
resemble  each  other,  place  them  as  far  apart  as  possible.     This 
applies  particularly  to  exercises  in  which  posture  training  is  em- 


128  GYMNASTIC  TEACHING 

phasized.  These  are  always  sharply  localized  movements,  often 
done  slowly  and  as  response  movements  (at  least  in  the  begin- 
ning), and  positions  are  or  should  be  well  sustained  for  longer 
periods  of  time  than  in  any  other  exercises.  They  are  difficult 
of  execution,  require  earnest  and  discriminating  effort  on  the  part 
of  the  pupils,  careful  guidance,  firm  insistence  and  strong  stimu- 
lation on  the  part  of  the  teacher.  To  have  several  such  types  in 
succession  would  be  both  tedious  and  locally  fatiguing  to  the  pu- 
pils, as  the  muscular  localization  is  very  similar  in  most  of  them. 
It  is  therefore  of  advantage  to  distribute  exercises  of  this  type 
judiciously  through  the  lesson,  to  precede  and  follow  them  by 
lively  and  more  general  exercises. 

The  above  applies  also  to  any  new  or  difficult  exercise  requir- 
ing careful,  deliberate  presentation  and  repeated  on  signal  a  num- 
ber of  times.  Do  not  have  several  such  in  succession,  but  alter- 
nate them  with  simple  or  familiar  exercises  which  can  be  started 
without  much  or  any  explanation  and  executed  rhythmically  from 
the  outset  or  after  being  done  as  response  movements  only  once 
or  twice. 

Compound,  alternating  and  even  simple  movements  may  often 
appear  similar  to  the  pupils,  though  essentially  different,  by  be- 
ing of  similar  type  and  by  being  combined  or  alternated  with  the 
same  or  similar  elements.  This  is  to  be  carefully  avoided  in  suc- 
cessive exercises.  For  example,  a  leg  flinging  forward  should 
not  be  placed  immediately  before  or  after  a  leg  flinging  sideways. 
Again,  if  a  trunk  bending  sideways  is  to  be  followed  by  a  for- 
ward bending,  it  would  not  be  wise  to  alternate  each  with  an 
arm  bending  or  stretching,  even  though  the  alternating  move- 
ment takes  place  in  a  different  direction  in  each  case.  For  al- 
though the  muscular  work  is  different  in  some  essential  respects, 
the  similarity  of  type  or  style  would  be  most  apparent  to  the 
pupils. 

Vary  the  starting  positions.  While  a  considerable  number  of 
exercises  can  be  done  from  the  fundamental  position,  it  is 
often  convenient  and  sometimes  necessary  in  careful  progression 
to  do  movements  from  derived  starting  positions.  Either  the 
arms  or  the  legs  or  both,  or  even  the  trunk,  may  be  in  a  position 
different  from  the  fundamental  position ;  but  the  essential  move- 
ment begins  from  and  returns  to  this  derived  position  repeatedly. 
In  any  such  case  avoid  using  similar  starting  positions  for  suc- 
cessive exercises.  The  principal  exception  to  this  is  the  frequent 
use  of  the  stride  standing  position  (feet  apart)  in  the  beginning 
of  any  series  of  lessons,  especially  with  untrained  classes  and 
always  with  classes  of  young  children. 

Avoid  giving  too  numerous  and  too  powerful  shoulder  blade 
exercises.  At  any  rate  do  not  have  them  too  near  together. 


CONTENT  AND  CHARACTER  129 

While  valuable  for  the  increase  of  tone  and  control  of  the  muscles 
of  the  shoulder  girdle  and  therefore  important  exercises  in  pos- 
ture training,  if  given  to  the  point  of  excessive  local  fatigue  the 
pupils  cannot  or  will  not  do  them  correctly.  This  not  only  mini- 
mizes the  effects  of  such  movements  (if  it  does  not  defeat  their 
special  purpose  altogether),  but  also  leads  to  loss  of  interest.  The 
same  applies  to  carrying  the  arms  high  in  derived  starting  posi- 
tions. As  arm  movements  and  positions  of  all  kinds  belong  in 
the  category  of  shoulder  blade  exercises,  and  as  they  are  particu- 
larly suitable  for  combination  or  alternation  with  other  move- 
ments, it  is  always  a  great  temptation  to  use  them  too  much.  In- 
deed, when  planning  lessons  in  advanced  stages  of  progression  it 
becomes  a  most  difficult  problem  how  to  avoid  excessive  use  of 
such  movements.  At  any  time  care  should  be  taken  not  to  have 
similar  types  recur  too  often.  Thus  use  arm  bending  and  stretch- 
ing in  one  case,  arm  raising  or  flinging  in  the  next,  etc.,  varying 
the  direction  of  the  movement  each  time. 

10.  The  apparatus  zvork  should  include  representatives  of  the 
two  principal  classes :  Suspension  exercises,  and  vaulting  or 
jumping.  Arm  support  exercises,  other  than  the  transitory  posi- 
tions occurring  in  vaults  or  as  parts  of  complex  suspension  exer- 
cises on  the  horizontal  bar,  are  of  questionable  value  and  should 
not  be  given  much  prominence,  if  used  at  all.  Powerful  trunk 
exercises,  or  combined  trunk  and  suspension  exercises  at  the  bar 
stalls  may  be  included  in  the  apparatus  work  and  given  in  addi- 
tion to  or  in  place  of  one  of  the  others.  The  number  and  kind 
of  exercises  at  each  apparatus  will  vary  with  the  ability  of  the 
pupils,  the  stage  in  the  progression,  the  amount  of  time  available 
and  the  character  of  the  other  work  in  the  lesson.  When  several 
exercises  are  given,  they  should  be  as  different  in  type  as  possible. 
They  should  be  chosen  with  a  view  to  supplement  each  other  and 
the  work  in  the  rest  of  the  lesson,  as  regards  muscular  localization, 
etc.,  so  as  to  contribute  to  the  all-round  character  of  the  lesson. 
This  also  makes  for  interest.  Exercises  on  the  horse,  buck,  par- 
allel bars  and  low  horizontal  bar  should  preferably  be  of  a  type 
which  can  be  executed  quickly  (chiefly  vaults),  so  that  pupils  will 
not  have  to  spend  too  much  time  awaiting  their  turn.  It  is  also 
best  to  start  them  with  a  run,  except  in  the  case  of  low  horizontal 
bar  exercises.  Here  the  same  types  may  be  done  with  a  stand- 
ing start,  partly  because  it  is  safer,  and  partly  because  practice 
in  this  is  desirable.  On  suspension  apparatus  sufficient  rapidity  of 
the  work  may  be  attained  by  letting  several  pupils  do  the  exercises 
at  the  same  time  whenever  possible — as  on  horizontal  ladders, 
suspended  parallel  bars,  booms  and  window  ladders.  On  ropes, 
poles,  rope  ladders  and  the  high  horizontal  bar  rapid  and  continu- 
ous work  is  possible  only  with  multiple  apparatus.  In  any  case 


130  GYMNASTIC  TEACHING 

small  squads  (preferably  not  more  than  eight  in  each),  efficient 
leadership,  good  organization,  management,  grading  and  rational 
progression  are  essential  for  rapidity  and  continuity  of  apparatus 
work. 

When  there  are  many  squads  the  work  of  the  leaders  will  be 
facilitated  by  having  the  exercises  at  each  apparatus  systema- 
tized and  arranged  in  progressive  series  on  typewritten  or  printed 
cards.  Or  the  apparatus  work  for  each  squad  may  be  written  out 
and  handed  to  the  leaders  at  or  before  each  lesson.  This  is  prob- 
ably the  most  satisfactory  method  from  the  standpoint  of  careful 
progression  and  well-balanced  lessons  ;  but  it  requires  much  time 
and  thought,  and  intelligent  cooperation  by  a  well-trained  leaders' 
corps.  It  would  be,  perhaps,  too  difficult  to  manage  when  the 
classes  are  very  large,  with  many  squads,  or  when  the  teacher  has 
to  handle  daily  many  widely  differing  classes  with  insufficient 
assistance.  Under  such  conditions  multiple  apparatus,  and  all  the 
squads  doing  the  same  exercise  under  the  teacher's  direct  super- 
vision, is  probably  the  best  solution. 

When  multiple  apparatus  is  not  available  (or  in  any  case),  large 
classes  may  be  organized  into  squads  of  moderate  size  (eight  or 
at  most  ten)  in  charge  of  popularly  elected  leaders  and  the  whole 
work  put  on  a  competitive  basis.  The  apparatus  work  may  then 
be  reduced  to  a  few  representative  types — such  as  climbing ;  hand 
travelling  on  rings,  ladders,  suspended  parallel  bars  or  booms ; 
swing  jump  on  rings,  ropes  or  horizontal  bar;  certain  mounts  on 
horizontal  bar;  bar  vault;  straddle  vault  on  buck,  face  (front) 
vault  on  horse  or  box,  squat  vault  on  side  horse  (with  pommels), 
back  (rear)  vault  on  parallel  bars  (all  of  the  vaults  to  be  done 
with  a  running  start,  except  the  bar  vault).  Most  of  these  can 
either  be  measured,  or  at  any  rate  defined  in  regard  to  essential 
points  of  "form"  necessary  to  "pass."  Such  apparatus  work 
may  be  supplemented  by  various  conventional  athletic  events, 
such  as  high  and  broad  jumps,  throwing,  putting  the  shot,  pole 
vault;  relay  races,  obstacle  races  (individual  or  team)  ;  also  less 
conventional  work  suitable  for  competition,  such  as  throwing  ball 
into  basket  repeatedly  in  limited  time,  golf  and  tennis  strokes, 
throwing  at  mark,  as  well  as  balance  and  suppleness  tests.  The 
whole  scheme,  whether  simple  or  elaborate,  could  then  be  put  on 
some  reasonable  scoring  basis,  printed  or  typewritten  descriptions 
of  the  "events"  and  methods  of  scoring  posted  and  distributed 
to  the  leaders,  and  the  latter  given  special  instruction  and  coach- 
ing. When  properly  managed  a  competitive  and  at  least  partly 
self-directed  program  of  this  kind  makes  for  interested,  whole- 
hearted work,  sense  of  responsibility  and  leadership.  It  is  in 
keeping  with  what  ought  to  be  the  spirit  and  ideals  of  the  work. 

11.     Running,   marching  and   breathing  exercises.     Owing  to 


PROGRESSION  131 

its  intermittent  character,  it  is  always  difficult  to  get  apparatus 
work  done  in  a  satisfactory  manner  and  at  the  same  time  with 
sufficient  continuity  to  preserve,  much  less  increase,  the  cumu- 
lative organic  reactions  produced  by  the  free-standing  exercises. 
It  is  therefore  particularly  desirable  to  give  a  run  or  a  lively  run- 
ning game  immediately  after  the  apparatus  work.  When  time 
allows,  this  is  followed  by  a  little  marching — balance  and  toe 
marching  rather  than  rapid  changes  of  direction.  Breathing  ex- 
ercises may  be  done  while  marching,  or  separately. 

Summary.  The  gymnastic  lesson  should  then  be  planned  and 
arranged  in  a  way  to  give  the  pupils  the  utmost  value  for  their 
time  and  effort.  The  values  should  consist  in  vigorous,  all-round 
exercise,  leading  to  immediate  and  marked  organic  stimulation 
with  a  pleasant  sense  of  fatigue  and  bodily  well-being ;  adequate 
training  in  general  subjective  motor  control  with  especial  empha- 
sis on  good  posture ;  an  equalizing  influence  on  growth  and  a  har- 
monious muscular  development.  To  produce  these  effects  it 
should  be  varied  and  comprehensive  in  character ;  it  should  call 
for  sufficient  quantity  and  gradually  increasing  intensity  of  mus- 
cular work.  The  exercises  should  be  selected  and  arranged  with 
reference  to  their  special  and  general  features  in  such  a  way  as 
to  fit  into  and  supplement  each  other,  each  enhancing  the  effects  of 
the  preceding  and  preparing  the  way  for  the  following.  Finally, 
the  lesson  should  be  taught  and  managed  in  a  way  to  accomplish 
the  special  purpose  of  each  exercise,  and  with  sufficient  speed  and 
continuity  to  make  the  general  effects  of  all  cumulative.  Such  a 
well-balanced  and  carefully  rounded  lesson  will  be  most  likely  to 
interest  the  pupils,  to  enlist  their  enthusiastic  and  intelligent  co- 
operation and  to  elicit  the  whole-hearted,  vigorous  response  neces- 
sary to  make  it  effective. 


5.     PROGRESSION. 

From  the  standpoint  of  interest  as  well  as  all-round  effective- 
ness, rational  progression  is  essential  in  gymnastic  work.  It  is 
particularly  important  when  subjective  motor  training  is  one  of 
the  phases  of  the  work  to  be  emphasized.  Lacking  the  element 
of  progression,  no  work  can  be  of  much  educational  value.  Nor 
can  pupils  be  expected  to  remain  interested  for  any  length  of 
time  in  work  in  which  they  find  nothing  further  to  learn,  or  in 
which  their  growing  strength  and  ability  are  not  constantly  given 
full  scope,  are  not  put  to  new  and  increasingly  difficult  tests. 
Their  instinct  for  progression  must  be  satisfied,  to  some  extent 
at  least,  even  when  the  main  object  of  the  work  is  muscular  ex- 


132  GYMNASTIC  TEACHING 

ercise  for  the  sake  of  organic  stimulation.  Otherwise  they  will  not 
long  continue  to  do  it  with  regularity  and  persevering  effort,  but 
\vill  either  lapse  into  habits  of  bodily  inactivity,  or  will  rely  solely 
upon  the  occasional  indulgence  in  some  game  or  sport  which  will 
give  them  a  certain  amount  of  muscular  exercise,  even  though  it 
be  inadequate  and  not  always  adapted  to  their  special  needs. 

Progression  is  one  of  the  important  factors  in  adapting  the 
work  to  conditions.  It  is  closely  bound  up  with  selection,  defini- 
tion, classification,  combination  and  arrangement  of  exercises ; 
with  the  planning  of  lessons ;  with  the  style  and  character  of  the 
work ;  with  the  methods  and  technique  of  teaching  it ;  with  main- 
taining attention  and  discipline,  and  thus  with  control  and  class 
management. 

Progress  may  consist  in  learning  to  do  somewhat  familiar  ex- 
ercises better — with  more  exactness,  vigor  and  completeness — 
and  therefore  more  effectively.  Or  it  may  consist  in  learning  to 
do  new,  more  complex,  difficult  and  powerful  exercises.  Both 
are  elements  in  progression.  The  former  implies  repetition ;  the 
latter  change,  additional  features,  variety. 


Progression  as  Applied  to  Gymnastic  Lessons. 

What  might  be  called  progression  within  the  lesson  was  indi- 
cated in  the  preceding  chapter.  It  was  shown  to  consist  of  fairly 
regular  and  steady  increase  of  intensity  and  rate  of  muscular 
work  in  successive  exercises,  with  corresponding  progressive  in- 
crease of  organic  activity.  There  is  also  progression,  though  less 
regular,  as  regards  coordination.  The  more  complex  and  diffi- 
cult movements,  whether  free-standing  or  apparatus  work,  are 
generally  placed  in  the  latter  half  of  the  lesson.  Such  a  progres- 
sive arrangement  of  exercises  within  the  lesson  represents  the 
most  economical  use  of  the  pupil's  time  and  efforts,  and  is  con- 
ducive to  the  best  work,  to  the  maintenance  of  interest,  as  well  as 
the  most  pronounced  and  lasting  effects  of  the  lesson  as  a  whole. 

Progression  from  lesson  to  lesson  consists  of  an  increase  in 
the  number,  complexity,  difficulty,  speed,  precision  and  power  of 
the  exercises  of  which  successive  lessons  are  composed. 

In  the  free-standing  exercises  it  may  mean  gradual  change  in 
the  style  and  character  of  the  work  :  From  less  definite,  relatively 
complex  exercises  executed  rhythmically  without  holding  posi- 
tions and  with  little  attention  to  posture  or  other  details,  to  more 
definite,  relatively  simpler  movements,  done,  partly  at  least,  in 
response  to  signal,  and  in  any  case  emphasizing  details  of  execu- 
tion— such  as  completeness  and  accuracy,  separation  of  the  com- 


PROGRESSION  133 

ponent  elements  by  holding  of  positions,  maintenance  of  good 
posture  throughout.  Further  progression  would  then  mean  in- 
creased complexity  without  loss  of  definiteness,  greater  speed  and 
more  continuity  of  movement.  It  would  involve,  besides,  the  in- 
clusion of  increasingly  difficult  types,  the  use  of  more  numerous 
and  difficult  elements  in  the  combination  and  alternation  of  move- 
ments, less  response  work,  more  frequent  rhythmic  repetition, 
more  varied  rhythms. 

Again,  progression  from  the  outset  may  be  from  the  simpler 
types  of  definite  exercises  to  the  more  complex  and  difficult  types 
and  combinations,  with  increasing  application  of  the  principle  of 
rhythmic  continuity,  but  always  retaining,  and  if  possible  increas- 
ing, the  quality  of  definiteness. 

As  regards  the  apparatus  work,  progression  in  successive  les- 
sons will  mean  the  inclusion  of  a  greater  number  and  variety  of 
exercises,  as  well  as  more  difficult  and  powerful  types,  so  as  to 
take  into  full  account  the  pupil's  gain  in  strength  and  agility. 

Many  types  of  apparatus  exercises  can  be  done,  with  more  or 
less  modification,  on  more  than  one  apparatus.  In  careful  pro- 
gression account  must  be  taken  of  the  varying  degrees  of  diffi- 
culty represented  by  doing  similar  types  on  different  apparatus. 
For  example,  a  squat  vault  is  done  more  easily  on  a  horse  with 
pommels  or  on  the  saddle  boom,  than  on  the  buck  or  low  hori- 
zontal bar.  It  should  therefore  be  practiced  on  the  former  be- 
fore being  tried  on  the  latter.  A  straddle  vault  for  the  same  rea- 
son should  first  be  done  on  the  buck,  next  on  the  horse  with 
pommels  or  the  saddle  boom,  then  on  a  horse  without  pommels 
and  lastly  on  the  low  horizontal  bar.  Again,  a  back  (rear)  vault 
may  be  tried  first  on  the  parallel  bars,  next  on  the  buck  and 
side  horse,  then  on  the  long  horse  and  finally  on  the  double  boom 
and  low  horizontal  bar.  Similar  considerations  will  determine 
the  choice  of  type  and  apparatus  in  many  other  vaults  as  well  as 
in  suspension  exercises. 

Repetition.  As  was  stated  in  a  previous  paragraph,  progression 
by  no  means  precludes  repetition.  When  for  any  reason  it  is  not 
feasible  or  desirable  to  progress  by  very  fine  and  gradual  steps, 
more  or  less  repetition  will  be  necessary.  Then  progression  con- 
sists in  doing  the  same  work  better.  This  may  be  applied  to  the 
whole  lesson,  or  to  any  part  of  it.  Thus  it  may  be  wise  to  repeat 
the  whole  lesson  from  two  to  four  times.  Or  the  free-standing 
exercises  may  be  repeated  several  times,  while  the  apparatus  work 
is  repeated  only  once  or  not  at  all.  Or  the  reverse  may  be  the  best 
procedure,  as,  for  example,  when  very  little  apparatus  is  availa- 
ble, or  with  classes  of  women  or  young  children.  Again,  certain 
types  of  exercises,  free-standing  as  well  as  apparatus,  may  have 
to  be  repeated  many  times  before  the  majority  of  the  class  can 


154  GYMNASTIC  TEACHING 

execute  them  in  a  satisfactory  manner.  This  is  particularly  true 
of  types  which  are  not  capable  of  much  or  any  sub-division  or 
simplification,  and  which  cannot  be  led  up  to  by  gradual  steps 
through  other  types.  Such  is  the  case,  for  example,  with  charges 
and  some  balance  movements  among  free-standing  exercises,  and 
with  many  vaults  and  suspension  exercises. 

How  many  times  a  lesson  should  be  repeated,  as  a  whole  or  in 
part,  is  a  matter  depending  on  the  teacher's  judgment.  It  will  vary 
with  conditions.  Ideally,  perhaps,  each  lesson  should  be  totally 
different  from,  as  well  as  represent  a  distinct  advance  on,  the 
preceding.  But  this  is  rarely  feasible  in  all  respects.  The  steps 
in  the  progression  of  any  group  of  exercises  or  of  the  lesson  as 
a  whole  will  be  great  or  small,  and  repetitions  correspondingly 
more  or  less  numerous,  according  to  (1)  the  frequency  and 
amount  of  instruction — whether  once  or  three  times  a  week  or 
daily,  whether  fifteen  minutes  or  an  hour;  (2}  the  total  length  of 
the  course  of  instruction — whether  six  weeks  or  six  years;  (;>) 
the  kind  of  class — age,  sex,  previous  training,  mental  attitude 
toward  the  work,  etc.;  (4)  the  availability  or  lack  of  apparatus; 
(5)  the  abundance  or  scarcity  of  types  of  exercises  in  any  given 
group  or  line  of  progression. 

In  general,  it  is  wise  to  have  successive  lessons  as  different  as 
possible  even  though  some  types  of  exercises  may  have  to  recur 
without  much  or  any  modification.  In  many  groups  of  exercises, 
however,  there  are  a  sufficient  number  of  types  to  make  possible 
the  recurrence  of  a  given  type  or  combination,  with  or  without 
modification,  only  at  intervals  of  several  lessons. 

The  more  frequent  the  periods  of  instruction  and  the  greater 
the  total  length  of  the  course,  the  finer  and  more  gradual  can 
the  progression  be  made.  There  may  then  be  correspondingly 
less  repetition  of  whole  lessons  or  of  individual  exercises,  unless 
other  conditions  are  such  as  to  require  numerous  repetitions. 
When  the  frequency  and  total  amount  of  instruction  are  limited 
the  steps  are  longer  and  repetitions  as  a  rule  more  numerous.  In 
any  case,  it  will  generally  be  advisable  to  repeat  each  lesson  •/;/ 
toto  at  least  once.  This  much  will  perhaps  be  necessary  in  order 
to  have  the  class  notice  the  change  and  become  aware  of  the  pro- 
gression. It  is  also  of  advantage  to  review  all  but  the  very  sim- 
plest types  and  combinations  from  time  to  time,  either  by  way 
of  "clinching"  them,  or  to  fill  in  and  round  out  a  well-balanced 
lesson.  The  occasional  use  of  relatively  easy,  familiar  exercises 
is  often  necessary  in  advanced  stages  of  progression  in  order  to 
relieve  the  class  from  too  great  strain — muscular  and  nervous — 
which  would  be  involved  in  doing  several  severe  and  difficult  ex- 
ercises in  succession. 


PROGRESSION  135 

Principles  of  Progression  of  Free-Standing  Exercises. 

General  considerations.  Before  taking  up  the  detailed  discus- 
sion of  principles  of  progression  of  free-standing  exercises  and 
their  application  in  the  various  classes  of  movements,  it  will  per- 
haps be  helpful  at  this  point  to  summarize  and  to  some  extent  to 
restate  certain  general  principles  and  conceptions  closely  related 
to  and  in  many  respects  serving  as  a  basis  for  such  progression. 
Most  of  them  have  been  referred  to  repeatedly  and  were  among 
the  factors  enumerated  in  the  preceding  section  as  elements  in 
the  progression  of  gymnastic  lessons. 

Types  and  their  relative  difficulty.  Within  the  respective 
groups  or  classes  of  exercises  there  may  be  many  types  which 
represent  little  or  no  difference  in  the  matter  of  difficulty  or 
severity,  while  between  others  there  may  be  considerable  differ- 
ence in  these  respects.  In  the  former  case,  the  order  in  which  they 
are  used  is  immaterial,  while  in  the  latter  case,  the  progression 
should,  of  course,  be  from  the  easier  to  the  more  difficult.  A 
correct  estimate  of  such  relative  differences  will  be  greatly  helped 
by  an  understanding  of  the  anatomical  mechanism  of  the  move- 
ments ;  but  in  any  case,  the  teacher's  judgment  in  this  matter  will 
need  to  be  backed  up  by  a  practical  knowledge  of  the  work  and  be 
guided  largely  by  his  teaching  experience.  Often  an  exercise 
which  appears  simple  and  easy  enough,  theoretically,  or  to  a  well- 
trained  individual,  is  found  in  practice  to  offer  considerable  diffi- 
culty to  the  majority  of  pupils,  if  given  too  early  in  the  progres- 
sion. Such  is  the  case,  for  example,  with  (slow)  deep  knee 
bending  with  the  trunk  carried  vertical  and  erect,  or  with  a  type 
of  downward  bending  of  trunk  in  which  the  "going"  movement 
is  combined  with  double  foot  placing  and  preceded  by  a  simple 
arm  movement,  while  the  return  (the  trunk  raising)  is  combined 
with  the  arm  movement  and  followed  by  the  foot  placing. 

As  far  as  possible  the  different  types  should  be  taken  up  in  such 
an  order  that  the  easier  pave  the  way  for  and  lead  up  to  the  more 
difficult  types  and  combinations.  Often  in  a  long  series  of  les- 
sons the  most  interesting  and  representative  types,  whether  ac- 
tually or  only  relatively  difficult,  may  thus  have  to  be  held  back 
until  toward  the  end  of  the  series,  even  though  they  could  be  done 
acceptably  at  an  earlier  period.  But  it  would  not  be  logical  nor 
wise,  either  from  the  standpoint  of  insuring  good  execution  or 
sustaining  interest,  to  use  such  types  first,  and  simpler,  less  in- 
teresting types  afterward. 

\Yhen  there  are  "gaps"  in  any  line  of  progression  owing  to  a 
scarcity  of  types  suitable  for  preparatory  steps  leading  up  to  more 
difficult  and  representative  exercises,  or  when  the  frequency  and 
total  number  of  lessons  do  not  warrant  a  finely  graded  progres- 


Uo  GYMNASTIC  TEACHING 

sion,  recourse  must  be  had  to  repetition.  In  this  way  the  most 
desirable  types,  even  if  somewhat  advanced  for  the  class,  can  be 
presented,  and  at  least  a  fair  degree  of  correct  execution  obtained. 
Complexity.  This  term  has  often  been  used  in  the  foregoing 
pages  to  signify  that  a  movement  is  made  up  of  several  elements, 
in  contradistinction  to  a  simple  movement,  consisting  of  only  one 
elementary  movement  and  the  return  to  the  starting  position. 
The  degree  of  complexity  is  determined  by  the  number  of  ele- 
ments of  which  the  movement  is  composed.  Several  kinds  of 
complexity  may  be  distinguished. 

1.  A  complex  movement  may  consist  of  two  or  more  elemen- 
tary movements  of  one  part  or  region  of  the  body  (head,  trunk 
or  extremities),  executed  either  simultaneously  or  consecutively. 
( 1 )    When  done  simultaneously   the  term   composite  movement 
might  perhaps  be  used.    Simultaneous  twisting  and  bending  of  the 
trunk  would  be  an  example  of  such  a  composite  movement.     (2) 
When  the  different  elements  are  executed  consecutively  in  such  a 
way  that  the  second  movement  and  its  return  are  interposed  be- 
tween the  two  phases  of  the  first,  the  whole  movement  might  be 
called  compound  (or  a  sequence)  if  the  elements  are  distinct  from 
each  other — each  completed  before  the  next  begins.     When  they 
"overlap,"  i.e.,  are  partly  simultaneous,  partly  consecutive,  and 
flow  into  each  other  smoothly,  the  whole  might  be  described  as 
a  blended  compound  movement.    Twisting  followed  by  side  bend- 
ing of  trunk,  and  heel  raising  followed  by  knee  bending  may  serve 
as  examples.    The  return  movements  are  always  in  reverse  order. 

2.  Again,  a  complex  movement  may  consist  of  one  or  more 
elementary  movements  of  tii'o  or  more  parts  or  regions  of  the 
body,  either  done  simultaneously  or  consecutively.      (1)    When 
done  simultaneously  the  whole  exercise  might  be  called  a  com- 
bined movement,  as,  for  example,  "arm  bending  with  heel  rais- 
ing."    (2)  When  done  consecutively,  and  one  element  (including 
its  return  movement)    is  interposed  between  the  two  phases  of 
the  other  element,  the  term  compound  movement   (or  sequence) 
would  again  be  suitable.     Alternate  foot  placing  sideways  (with 
hands  on  neck)  followed  by  trunk  twisting  is  an  example  of  such 
a  compound  movement.     (,'J)  If,  on  the  other  hand,  the  different 
elements,  with  their  respective  return  movements,  are  executed 
alternately,  the  whole  cycle  might  be  designated  by  the  term  al- 
ternating movement.     Arm  bend  stride  standing  forward  bending 
of  trunk,  alternating  with  arm  stretching  upward  is  a  typical  ex- 
ample.     In   both  the   compound   and  alternating  movements   the 
component  parts  may  be  combined  movements.     The  whole  cycle 
would  then  be  a  compound  or  alternating  combined  movement. 

Most  natural  movements,  performed  in  the  ordinary  activities 
of  daily  life,  are  of  the  composite,  blended,  flowing,  more  or  less 


PROGRESSION  137 

complex  type.  So  are  many  gymnastic  exercises  of  the  kind 
which  has  been  termed  "non-definite."  Definite  gymnastic  move- 
ments, on  the  other  hand,  are  either  simple  or  composite,  or  else 
they  are  combined,  compound  or  alternating.  All  the  elements 
are  distinct  and  separated  by  clearly  defined  positions. 

It  will  readily  be  seen,  then,  that  from  a  gymnastic  stand- 
point progression  in  regard  to  complexity  should  always  take 
into  account  the  relative  degree  of  definiteness  of  the  exercises. 
It  will  represent  progression,  for  example,  when  a  complex  exer- 
cise of  the  composite,  blended  and  compound,  so-called  non-defi- 
nite type — such  as  an  oblique  charge  or  lunge,  combined  with  an 
arm  movement  and  a  trunk  twisting  and  followed  by  or  ("blended 
with")  a  forward  bending  of  trunk — is  redefined  so  as  to  make 
possible  resolving  it,  as  nearly  as  may  be,  into  its  component  ele- 
ments. It  may  then  be  practiced  piecemeal,  as  it  were,  in  the 
form  of  various  definite  combined,  compound  or  alternating  move- 
ments, and  finally  reconstructed  into  an  exercise  as  complex  as  the 
original,  but  more  definite.  The  preparatory  practice  of  each 
part  separately  may,  in  a  sense,  be  considered  retrogression,  be- 
ing a  decrease  in  complexity ;  but  in  reality  it  is  only  a  step  in  the 
progression  toward  greater  definiteness  with  all  that  this  means  in 
the  way  of  better  localization,  inhibition,  fixation  and  finer  mus- 
cular control.  The  reconstruction  or  reassembling  of  the  elements 
into  exercises  more  or  less  similar  to  the  original  complex  move- 
ment would  imply  a  real  increase  in  complexity  of  the  definite 
kind.  Theoretically,  progression  would  mean  in  the  end  a  return 
toward  the  blended,  smoothly  flowing  type  of  movement,  with 
greater  accuracy,  grace  and  power  of  execution  than  previously. 

A  similar  line  of  progression  is  followed  when  the  point  of  de- 
parture is  different,  when  the  exercises  from  the  outset  are  of  a 
relatively  simple,  definite  character.  Thus,  a  simple  or  composite 
gymnastic  movement  involving  one  part  of  the  body  is  first  com- 
bined with  a  similar  movement  of  another  part,  e.g.,  arm  bending 
with  side  lunge ;  or  it  is  followed  by  an  equally  simple  move- 
ment of  the  same  part,  making  a  compound  movement,  e.g., 
arm  bending  and  stretching  sideways  and  upward,  or  side 
lunge  and  alternate  knee  bending.  Then  it  may  be  put  together 
with  a  movement  of  another  part,  e.g.,  hip  grasp  standing  side 
lunge  followed  by  arm  flinging  sideways,  or  by  side  bending  of 
trunk.  Next,  one  combined  movement  might  be  followed  by  a 
simple  movement — as  arm  bending  with  side  lunge,  then  side 
bending  of  trunk ;  or  these  might  be  alternated,  thus :  Arm  bend- 
ing with  side  lunge,  side  bending  and  raising  of  trunk,  arm 
stretching  sideways  and  arm  bending,  return  to  fundamental 
position.  Finally  a  compound  combined  movement  may  be  made 
of  these  elements,  as,  for  example,  arm  bending  with  side  lunge 


"138  GYMNASTIC  TEACHING 

followed  by  arm  stretching  sideways  with  side  bending  of  trunk. 
Complexity  might  be  still  further  increased  by  adding  other  ele- 
ments— such  as  trunk  twisting  or  arm  movements  of  different 
kinds,  or  alternate  knee  bending — and  combining  or  alternating 
them  in  any  way  compatible  with  definiteness.  Thus  an  elaborate 
series  or  cycle  of  movements  may  be  constructed.  In  advanced 
stages  of  this  kind  of  progression,  as  in  the  other,  there  would 
ultimately  be  an  approach  to  the  more  composite,  blended,  com- 
plex type  of  exercises,  but  with  retention  of  all  the  vigor,  preci- 
sion, completeness  and  speed  which  characterize  the  definite  type 
of  gymnastic  movements.  However,  in  ordinary  class-teaching 
this  point  is  seldom  reached.  When  it  is,  the  work  is  really  in 
the  nature  of  dancing.  Indeed,  there  is  no  sharp  line  of  demarca- 
tion between  such  complex,  rhythmic  gymnastics  and  dancing. 

Combination  and  alternation.  Progression  of  definite  gymnas- 
tic exercises  as  regards  complexity — which,  coupled  with  the  in- 
herent nature  of  the  different  types,  is  the  measure  of  difficulty- 
is  then  a  matter  of  combination  and  alternation  of  simple,  well- 
defined  elementary  movements.  The  execution  of  these  elemen- 
tary movements  from  the  various  derived  starting  positions  is  a 
closely  related  factor,  and  may,  indeed,  be  considered  one  phase 
of  combination.  The  judicious  choice  of  starting  positions  and 
the  proper  matching  of  elements  or  types  in  combined,  alternating 
and  compound  movements  are  not  only  essential  in  rational,  con- 
sistent progression,  but  facilitate  rhythmic  execution  of  definite 
exercises,  thus  making  for  greater  variety,  quantity  and  continu- 
ity of  the  work.  These  are  factors  of  prime  importance  in  the 
planning  and  arrangement  of  well-balanced,  all-round  lessons,  in 
the  choice  of  method  or  procedure  in  teaching,  in  making  the 
work  effective  and  interesting. 

\Yhile  combination  of  all  kinds  of  movements  is  theoretically 
possible,  in  practice  only  certain  combinations  are  suitable.  Only 
such  elements  should  be  chosen  and  put  together  as  will  harmon- 
ize and  will  represent,  in  their  combination,  a  real  increase  in 
effectiveness.  The  main  considerations  here  are  the  number,  gen- 
eral character  and  speed  of  the  elements  to  be  combined. 

The  number  will  vary  with  the  stage  in  the  progression,  and 
that  in  turn  will  depend  on  the  ability  of  the  class.  Kxcept  in 
the  most  advanced  work,  where  very  complex  combinations — 
such  as  charges  and  lunges  combined  with  dissimilar  arm,  head 
and  trunk  movements — can  be  used,  the  number  of  elements 
rarely  exceeds  three — involving  the  arms,  the  legs  and  the  trunk 
respectively.  In  the  great  majority  of  useful  combinations  there 
are  only  two  elements. 

As  regards  the  general  character  of  the  elements  to  be  com- 
bined, thev  should  all  be  simple,  definite  movements,  capable  of 


PROGRESSION  139 

being  executed  simultaneously  in  an  equally  definite,  clear-cut 
manner.  Combinations  of  composite,  vague  or  ill-defined  move- 
ments, or  of  one  such,  with  a  simple,  definite  movement,  would 
make  for  loss  of  definiteness  in  the  execution  of  the  combination, 
with  corresponding  loss  of  effectiveness. 

Finally,  only  such  elements  should  be  combined  as  can  be  done 
with  full  effectiveness  at  similar  speed.  For  if  two  movements 
whose  "optimum"  speed  is  different  are  executed  simultaneously 
— as,  for  example,  an  arm  stretching  and  a  slow  trunk  bending — 
the  combination  will  necessarily  represent  a  compromise  in  re- 
spect to  speed  and  power.  That  will  detract  from  the  definiteness 
and  hence  from  the  effectiveness  of  both  elements.  Because  most 
trunk  movements  are  relatively  slow  and  require  careful,  dis- 
criminating muscular  action  to  be  properly  localized,  they  are 
not  well  suited  for  combination  with  any  other  kind  of  move- 
ments, except  leg  movements  of  the  slow  type.  In  advanced 
stages  of  progression,  however,  relatively  quick  forward-down- 
ward bending  may  be  combined  with  arm  movements  and  wide 
foot  placing  sideways.  Trunk  twisting  may  also  be  done  quickly 
in  combination  with  arm  movements,  foot  placings  and  charges 
when  the  class  has  reached  a  sufficiently  advanced  stage  of  train- 
ing. 

Whenever  combination  of  two  movements  is  unsuitable,  such 
movements  can  nearly  always  be  alternated  or  put  together  into 
compound  movements.  Here  there  is  practically  no  limitation, 
except  that  alternating  and  compound  movements  which  do  not 
represent  any  particular  value,  or  which  would  make  successive 
exercises  in  a  lesson  too  much  alike,  should  be  avoided.  The 
number  of  parts  may  be  anywhere  from  two  to  four.  Counting 
the  return  phase  of  each,  this  will  mean  double  that  number  of 
movements  (on  each  side,  if  unilateral)  to  complete  the  cycle. 
Here,  as  in  combination,  movements  consisting  of  only  two  parts 
(four-count  cycles)  make  up  the  great  majority  of  useful  exer- 
cises. Any  one  or  all  of  the  parts  may  be  combined  movements. 
Thus  the  number  of  elements — the  complexity — may  be  made  as 
great  or  as  small  as  the  teacher  desires  and  the  ability  of  the  class 
justifies. 

Speed.  As  has  already  been  stated,  most  movements  are  done 
in  the  most  effective  manner  at  a  certain  speed — their  "optimum" 
speed.  Thus  trunk  bendings  are  best  done  slowly,  arm  bendings 
and  stretchings  quickly.  On  the  other  hand,  many  movements 
may  be  done  at  different  speeds  and  their  character  or  special 
effectiveness  made  to  vary  accordingly.  Thus,  for  example,  in 
slow,  restrained  arm  bendings  and  stretchings,  there  is  more  re- 
sistance on  the  part  of  the  antagonistic  muscles.  This  leads  to  a 
"flattening"  of  the  upper  back  and  makes  the  movements  more 


140  GYMNASTIC  TEACHING 

effective  as  shoulder  blade  exercises.  Similarly,  heel  raising  and 
knee  bending,  when  done  slowly,  becomes  more  of  a  balance  ex- 
ercise than  otherwise,  and  the  muscular  work  is  more  fatiguing. 
Trunk  twisting  after  some  practice,  may  be  done  equally  effec- 
tively slowly  or  quickly.  In  general,  progression  in  this  respect 
is  away  from  the  normal  speed  of  the  movements,  providing  the 
muscular  action  is  thus  made  more  powerful  and  difficult.  In- 
creased speed  would  then  generally  mean  more  sudden  and  vigor- 
ous contraction  of  all  muscles  concerned,  and  especially  of  motor 
muscles ;  while  retardation  would  mean  bringing  into  action  a 
greater  number  of  antagonistic,  steadying  and  fixator  muscles,  or 
more  vigorous  contraction  of  those  which  are  used  more  or  less 
even  when  the  movement  is  done  with  greater  speed. 

Rhythm.  Uniform,  moderately  quick  rhythm  is  easiest,  espe- 
cially when  associated  with  very  brief  pauses  between  the  move- 
ments— that  is,  when  positions  are  not  retained  an  appreciable 
length  of  time.  The  speed  of  the  movements  and  the  effort  re- 
quired are  then  correspondingly  moderate ;  the  exercises  are  more 
or  less  lacking  in  definiteness.  When  for  any  reason  this  type  of 
work  is  desired,  progression  would  be  toward  faster  rhythm, 
which  would  then  be  equivalent  to  greater  speed  of  movement  and 
more  movement  in  a  given  time.  But  if  it  is  desired  to  make  the 
work  more  definite  in  character,  progression  would  at  first  be 
toward  slower  rhythm  by  making  the  pauses  during  which  posi- 
tions are  held  longer.  Such  slowing  of  the  rhythm  would  not  pre- 
clude, but  rather  favor,  increasing  the  speed  of  the  movements. 

In  rhythmic  work  of  the  definite  type,  progression  is  generally 
from  the  slower  toward  the  faster  rhythms,  partly  by  shortening 
the  pauses  somewhat,  but  even  more  by  increasing  the  speed  of 
the  movements.  Progression  is  also  from  even,  uniform  rhythm 
to  the  various  kinds  of  uneven  rhythm.  In  these  it  is  also  gen- 
erally a  variation  of  the  speed  of  the  movements  rather  than  of 
the  length  of  the  pause,  although  the  latter  may  occur  to  a  limited 
extent.  Alternation  of  quick  and  slow  movements  with  lengthen- 
ing of  the  pause  after  the  former  and  shortening  it  after  the  lat- 
ter gives  a  certain  accentuation  to  a  compound  or  alternating 
movement  which  simulates  uneven  rhythm.  But  in  reality  such 
rhythm  is  often  very  nearly,  if  not  quite,  even. 

Derived  starting  positions.  Most  simple  and  combined  move- 
ments may  be  made  progressively  more  difficult  or  powerful  by 
being  started  from  positions  in  which  the  arms,  the  legs  or  the 
trunk — one  or  all — are  in  a  different  relation  to  each  other  from 
that  obtaining  in  the  fundamental  position.  The  use  of  these 
derived  starting  positions  adds  to  the  total  quantity,  the  com- 
plexity and  difficulty  of  the  muscular  work  of  the  exercise,  not 
only  bv  the  efforts  necessary  to  sustain  them,  but  bv  the  possi- 


PROGRESSION  141 

bilities  they  offer  in  the  way  of  increasing  the  weight  leverage, 
of  varying  the  base  and  thus  of  modifying  conditions  of  equi- 
librium and  weight  distribution.  The  changed  relation  of  the 
parts  also  means  different  conditions  of  fixation  for  muscular 
work,  compels  dissociation  of  familiar  or  habitual  group  action 
of  muscles  and  induces  new,  more  varied  and  difficult  associa- 
tions. The  starting  position  may  make  more  difficult  or  facili- 
tate localization  of  movement  and  even  of  muscular  contraction, 
may  increase  or  diminish  range  of  movement,  and  thus  be  a  de- 
termining factor  in  the  general  or  specific  effectiveness  of  the 
exercise. 

The  movement  by  which  any  given  (named)  starting  postion 
is  reached  should  not  be  considered  a  part  of  the  named  move- 
ment which  begins  from  and  returns  to  this  starting  position  re- 
peatedly. The  former  occurs  only  once  and  is  taken  in  response 
to  a  descriptive  signal  in  which  the  imperative  verb  serves  as  the 
final  part.  The  return  to  the  fundamental  position  occurs  only 
after  the  real  movement  has  been  repeated  the  desired  number  of 
times.  When  the  movements  by  which  derived  starting  positions 
are  reached  are  practiced  repeatedly,  either  as  simple  or  combined 
movements,  or  as  parts  of  compound  movements,  they  are  named 
as  movements  and  not  as  positions. 

For  the  convenience  of  readers  who  are  not  familiar  with  the 
terminology  used  in  the  following  pages,  a  list  of  the  various  de- 
rived positions  and  the  movements  by  which  they  are  reached, 
with  brief  explanations,  follows : 


Starting  positions  derived  from  the  fundamental  position. 

I.     l>y  change  in  the  position  of  the  arms. 

Hip  grasp  standing  position — hands  placed  on  hips. 

Movement :    Placing   hands   on   hips.      Signal :    "Hands    on   hips — 
place !" 

Arm  bend  standing  position — elbows  completely  flexed  and  close  to  the 
waist,  fingers  flexed  as  much  as  possible  and  close  to  the  outer  part  of 
the  shoulders. 

Movement:  Arm  bending.     Signal:  "Arms — bend!" 

Neck  grasp  standing  position — hands  placed  behind  neck. 

Movement :   Placing  hands   on   neck.      Signal :   "Hands   on   neck — 
place!" 

Arm  forward  bend  standing  position — arms  raised  sideways,  elbows  flexed 
and  well  back,  hands  and  elbows  at  shoulder  level,  palms  down. 

Movement:  Forward  bending  of  arms.     Signal:  "Arms  forward — 
bend!" 


142  GYMNASTIC  TEACHING 

Arms  side-horizontal  standing  position — arms  raised  sideways  to  shoulder 
level,  elbows  extended,  palms  down. 

Movements:  Arm  raising  or  flinging,  or  stretching  (from  arm 
bend  standing  position)  sideways,  or  arm  parting  (flinging 
sideways)  from  arms  front-horizontal  standing  position.  Sig- 
nal:  "Arms  sideways — raise!"  (fling!  or  stretch!) 

Arms  side-horizontal,  palms  up — as  preceding. 

Movements :  Arm  raising,  flinging  or  stretching  sideways,  with 
palms  up.  Signal:  "With  palms  up,  arms  sideways — fling!" 

Half  bent  arms  side-horizontal — as  preceding — but  with  elbows  flexed  90°. 
Movement:  Half  sideways  bending  of  arms.     Signal:  "Arms  half 
sideways — bend!" 

Arms    front-horizontal    standing   position — arms    raised    horizontally    for- 
ward, shoulder  distance  apart,  palms  facing  each  other. 

Movements :  Arms  raising  or  flinging  forward.  Signal :  "Arms 
forward — raise!"  (or  fling!) 

Arms     overhead     standing     position — arms     vertically     overhead,     elbows 
straight,  palms  facing  each  other. 

Movements  :  Arm  raising  or  flinging  sideways-upward  or  forward- 
upward ;  arm  stretching  upward;  placing  arms  overhead. 
Signals:  "Arms  sideways- (forward-) upward — raise!"  (fling!) 
"Arms  upward — stretch!"  (from  arm  bend  position).  "Arms 
overhead — place '." 

.'.      l>y  change  in  the  position  of  the  legs. 

Stride    standing    position — feet    placed    simultaneously    directly    sideways, 
two  foot-lengths  apart,  body  weight  equally  on  both  feet. 

Movement :  Foot  placing  sideways.  Signal :  "Feet  sideways — 
place!" 

Oblique   walk   standing   position — one    foot   placed   obliquely    forward-out- 
ward two  foot-lengths.     Weight  equally  on  both  feet. 

Movement :  Alternate  foot  placing  obliquely  outward.  Signal : 
"Left  foot  outward — place!" 

Forward  walk  standing  position — one  foot  placed  directly   forward,  weight 
equally  on  both  feet. 

Movement:  Alternate  foot  placing  forward.  Signal:  "Left  foot 
forward — place!" 

Close  forward  walk  standing  position — as  preceding,  but  with  toes  pointing 
straight  ahead. 

Movement:  Alternate  foot  placing  forward  (from  the  close  stand- 
ing position).  Signal:  "Feet — close!  Left  foot  forward — 
place!" 

Close  standing  position — heels  and  toes  together. 

Movement:    Closing  of    feet.      Signal:    "Feet — close!" 

Toe  standing  position — heels  raised. 

Movement:  Heel  raising,  or  rising  on  toes.  Signal:  "Heels — - 
raise!"  or  "On  toes — "rise!" 


PROGRESSION  143 

Toe-knee-bend  standing  position — trunk  erect,  heels  raised,  knees  flexed 
90°  and  well  out. 

Movement:  Heel  raising  and  knee  bending  (compound).     Signal: 
"Heels — raise !     Knees — bend!" 

Toe-deep-knee-bend  standing  position — as  preceding,  but  knees  flexed  as 
much  as  possible. 

Movement:  Heel  raising  and  deep  knee  bending.     Signal:  "... 
All  the  way,  knees — bend!" 

Side  lunge  position — foot  placed  directly  sideways  about  three  foot-lengths, 
knee  well  out  and  flexed  upwards  of  90°,  trunk  erect  (vertical). 
Movement:  Side  lunge.     Signal:  "To  left — hinge!" 

Oblique  charge  position — foot  placed  obliquely  forward-outward  three 
foot-lengths,  knee  flexed  about  90°,  trunk  in  line  with  the  straight 
rear  leg,  sole  of  rear  foot  firmly  pressing  on  the  floor,  shoulders 
inclined,  but  facing  forward. 

Movement:   Oblique  charge.     Signal:   "Left  oblique — charge!" 

Forward  charge  position — three  foot-lengths  straight  ahead,  toe  of  ad- 
vanced foot  pointing  forward,  rear  foot  firm  on  the  floor,  at  right 
angles  to  advanced  foot,  trunk  in  line  with  rear  leg,  shoulders  level 
and  square  to  the  front. 

Movement:  Forward  charge.     Signal:  "Left  forward — charge!" 

Side  charge  position — as  oblique  charge,  but  directly  sideways. 

Toe-support  charge  position — like  forward  charge,  but  with  only  the  toe 
of  rear  foot  touching  the  floor.  Rear  foot  is  the  moving  foot. 

Movement:  No  name.     Signal:  "Left  toe-support  charge  position 
— place!" 

Standing  position  on  one  foot,  with  the  free  leg  raised  forward  or  side- 
ways. 

Movement :  Leg  raising  forward  or  sideways.     Signal :   "Left  leg 
forward    (sideways) — raise!" 

Standing  position  on  one  foot,  the  other  knee  raised  (forward  about  90° 
flexion  at  hip  and  knee). 

Movement:  Knee  upward  bending.     Signal:   Left  knee  upward — 
bend!" 

Kneeling  position — knees  flexed  90°,  ankles  extended. 

Movement:    Kneeling.      Signal:    "Kneeling   position — place!" 

Half  kneeling  position — on  one  knee,  the  other  foot  placed  directly  for- 
ward far  enough  to  flex  the  knee  90°. 

Movement:   Kneeling  on  one  knee.     Signal:   "Left  kneeling  posi- 
tion— place!" 

Stooping  position — knees  bent  as  much  as  possible,  heels  off,  trunk  inclined 
forward,  back  straight,  hands  touching  floor. 

Movement:    Stooping.      Signal:    "Stooping   position — place!" 


144  GYMNASTIC  TEACHING 

;>.     By  change  in  the  position  of  the  trunk. 

Trunk  forward  bend  standing  position — trunk  inclined  forward  about  45° 
from  hips,  back  straight. 

Movement:  Forward  bending  of  trunk.  (Movement  beyond  45° 
would  be  called  forward-downward  bending  of  trunk.)  Sig- 
nal: "Trunk  forward — bend!" 

Twist  standing  position — trunk  turned  about  45°  to  one  side,  without  mov- 
ing hips.    Head  is  not  moved  independently. 

Movement:  Trunk  twisting.     Signal:  "Trunk  to  left — tivist!" 

Front  leaning  rest   (prone  falling  position) — body  straight,  face  downward, 
supported  on  hands  and  toes. 

Movement:  No  name.     Signal:  "Front  leaning  rest — place!" 

Side  leaning  rest  (side  falling  position) — body  straight,  supported  on  hand 
and  foot  of  one  side. 

Movement:  No  name.     Signal:  "Left  side  leaning  rest — place!" 

When  a  movement  is  done  from  the  fundamental  standing  posi- 
tion the  latter  is  not  named.  Derived  starting  positions  in  which 
more  than  one  part  of  the  body  varies  from  the  fundamental 
position  are  named  by  putting  the  respective  designations  to- 
gether, with  or  without  hyphen,  e.g.,  arm  bend  stride  standing 
position  ;  arm  forward  bend  toe  standing  position  ;  arms  overhead 
toe-knee  bend  standing  position ;  neck  grasp  oblique  walk  standing 
position ;  arms  side-horizontal,  palms  up,  close  twist  standing 
position;  hip  grasp  oblique  charge  position.  When  a  movement  is 
to  be  done  from  a  derived  starting  position  the  logical  way  would 
be  to  put  a  colon  after  the  word  "position,"  thus  :  Arm  bend  stand- 
ing position :  arm  stretching  sideways.  But  this  may  be  contracted 
by  omitting  the  word  "position"  and  the  colon.  The  example 
given  would  then  be :  Arm  bend  standing  arm  stretching  sideways. 

When  naming  combined  movements  the  word  "with"  connects 
the  two  terms,  e.g.,  arm  bending  with  heel  raising ;  arm  forward 
bend  stride  standing  arm  flinging  sideways  with  knee  bending. 
In  compound  movements  the  word  "and"  or  "then"  is  used,  pre- 
ceded by  a  comma,  e.g.,  hip  grasp  standing  alternate  foot  placing 
sideways,  and  knee  bending. 

In  compound  combined  movements  the  words  "and"  and  "with" 
may  be  used  in  two  ways,  as  shown  in  the  following  example : 
Arm  bending  and  stretching  upward  with  alternate  foot  placing 
forward  and  heel  raising;  or,  arm  bending  with  alternate  foot 
placing  forward,  and  arm  stretching  upward  with  heel  raising. 
If  it  is  desired  to  be  very  explicit,  the  phrase  "followed  by"  or 
the  word  "then"  may  be  substituted  for  the  word  "and." 

In  alternating  movements  the  phrase  "alternating  with"  con- 
nects the  two  terms,  as  "neck  grasp  standing  stooping,  alternat- 
ing with  arm  stretching  upward." 


Relaxed  standing  position. 


Fundamental    standing    position. 


Arm  bend  forward  walk  standing  back- 
ward   moving    of    head    with 
chest    expansion. 


Hip   grasp   stride    standing   position. 

or    Alternate    foot    placing    sideways 

with    placing    hands    on    hips. 


Hip    grasp    toe    standing    position, 
or  Hip  grasp  standing  heel  raising. 


Placing   arms   obliquely    overhead. 


Arm  for\v.  bend  forw.  walk  st'd'g  pos. 

or   Forw.  b'd'g  of  arms  with   alternate 

foot  placing  forw. 


Arms    front-horizontal    standing   pos. 
or    Arm    raising    (flinging)    forward. 


Arms    overhead    standing    pos. 
or  Placing  arms  overhead. 


Neck  grasp   stride   standing  side   b'd'g. 


r    Knee   u|>\v.    b'd'g   left    and    right    or 


Stooping. 


Hip  grasp  toe-knee-bend  standing  pos. 

or  Hip  grasp  standing  heel  raising  and 

knee   bending. 


Hip  grasp  standing  heel   raising  and 
deep  (or  full)   knee  bending. 


Side  lunge  with  hands  on  hips. 


Oblique  charge  with  hands  on  hips. 


Forward  charge  with  hands  on  hips. 


Forward  charge  with  hands  on  hips. 

or  Oblique  charge  with  placing  hands 

on  hips  and   simultaneous  trunk 

twisting   to   same   side. 


Toe-support   (reverse)  charge  with 
hands  on   neck. 


Hip  grasp  horizontal  balance 
position  on  one   foot. 


Side  lunge  with  hands  on  hips, 
and    side    bending. 


Oblique  charge  with  hands  on  hips  and 

simultaneous  trunk  twisting 

to   opposite   side. 


Hip   grasp   standing   leg   flinging   forw. 
(•upw.)   left  and  right  or  alternate- 


Hip   grasp    standing   leg   flinging   side- 
"•••aj-s  left  and  right  or  alternate. 


Alternate   leg  flinging   sideways  with 
opposite  arm  flinging  side- 
ways-upward. 


Front  leaning  rest. 


Wide  stride  standing  downward 
bending,    touching   floor. 


Wide  stride  standing  downward 
bending,    touching   floor. 


Alternate    toe    touching   sideways    with 
opposite   knee  bending  and  plac- 
ing hands  on  neck. 


Hip   grasp   stride   standing   forward- 
downward  bending. 


Turning  of  hands  with  backward 
moving  of  head. 


Alternate  knee  upward  bending, 
grasping  knee. 


"Archery:  shooting  up  into  air."      (1) 


'Archery:  shooting  tip  into  air."      (2) 


'Horizontal    rope    pull"    or    "Pulling 
up  anchor."    ( 1  ) 


"Horizontal    rope    pull"    or    "Pulling 
up  aiu-hiir."      (2) 


'Raising  the  flag"  or  "Hoisting  sail. 


"Climbing  ladder." 


"Furling   sail." 


"Steamboat"  or 

Arms  side-horizontal  wide  stride  stand- 
ing  side-and-knee   bending. 


"Driving  stakes."     (1) 


"Chopping  down  a  tree."  (1) 


152  GYMNASTIC  TEACHING 

6.     APPLICATION  OF  PKINCIPLKS  OF  PROGRESSION  IN  THE 
VARIOUS  CLASSES  AND  TYPES  OF  FREE-STANDING  EXERCISES. 

The  general  principles  discussed  in  the  preceding  chapter  are 
more  or  less  applicable  to  all  classes  and  types  of  movements. 
The  extent  and  mode  of  their  application  will  vary  somewhat  with 
the  particular  groups  or  types  of  exercises  and  will  be  deter- 
mined by  various  factors,  such  as  the  character  and  purpose  of 
any  given  movement,  the  emphasis  placed  on  any  one  phase  of 
the  work,  the  suitability  or  practicability  of  any  possible  modifi- 
cation of  an  exercise,  etc. 

The  manner  of  application  of  some  of  the  main  principles 
which  are  involved  in  determining  or  changing  the  character  and 
mode  of  execution  of  an  exercise — from  the  less  to  the  more 
definite  style,  from  doing  each  movement  on  signal  to  rhythmic 
repetition  and  vice  versa,  variations  of  speed  and  rhythm — has 
already  been  indicated  and  will  not  be  discussed  further.  It  is 
largely  a  matter  of  technique  of  teaching  on  one  hand,  and  of 
the  teacher's  ideals,  standards  of  quality  and  judgment  of  con- 
ditions on  the  other.  A  thorough  understanding  and  working 
knowledge  of  such  application  can  really  be  gained  only  through 
experience.  The  present  chapter  will  be  devoted  mainly  to  illus- 
tration of  the  use  of  derived  starting  positions,  of  combination 
and  alternation  of  movements  for  the  purpose  of  progressively 
increasing  the  complexity,  difficulty  or  severity  of  the  principal 
types  which  make  up  the  different  classes  of  exercises. 

Leg  (and  Ann)  JLrercises. 

The  principles  used  in  the  progression  of  this  class  of  exercises 
are  : 

1.  Variation  of  base  by  changing  the  starting  position  of  the 
legs.     The  increase  in  difficulty  of  keeping  the  balance,  which  is 
one   of   the    features   resulting    from   such    variation    of   starting 
positions,  should  not  at  any  time  be  carried  so  far  as  to  interfere 
with    brisk    and    vigorous    execution.      Types    and    combinations 
which  represent  considerable  difficulty  in  this  respect  should  first 
be  practiced  as  balance  exercises. 

2.  Executing   leg   movements   while   holding   the   arms   in    in- 
creasingly difficult  starting  positions — chiefly  hip  grasp,  arm  bend 
and  neck  grasp  positions. 

:$.     Combining  leg  movements  with  arm  movements. 

•1.  Making  compound  movements  by  having  one  leg  move- 
ment follow  another — as  heel  raising  and  knee  bending;  alternate 
foot  placing  and  heel  raising,  or  knee  bending,  or  both. 

•">.  Making  compound  combined  movements  with  both  arms 
and  legs,  thus  increasing  the  number  of  elements. 

(>.      Increasing  the  range  of  movement  (in  deep  knee  bending). 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


153 


Types. 

Alternate    foot   placingS' — sideways,    forward,    obliquely    forward-outward, 

backward,  obliquely  backward-outward. 
Alternate   toe   touching    forward   or   sideways    with   bending  of   knee    of 

stationary  leg. 
Alternate  toe  raising. 

Heel  raising;  alternate  heel  raising.     Alternate  heel-and-toe  raising. 
Knee  bending;  deep  knee  bending;  alternate  knee  bending. 
Side  lunge ;  oblique  lunge ;  backward  oblique  lunge ;  backward  lunge. 
Stooping. 


Progression. 

Alternate  foot  placings : 

Hip  grasp  standing 
Neck  grasp  standing 


alternate 
foot  placing 


sideways,  forward, 
forward-outward, 
backward, 
backward-outward. 


Alternate  foot  plac- 
ings in  the  different 
directions 


placing  of  hands  on  hips;  on  neck; 
arm  bending;  forward  bending  of 
arms;  arm  flinging  sideways,  for- 
with  -I  wai~d,  sideways-upward,  forward-up- 
ward; low  arm  circling  (  =  forward- 
sideways  and  downward);  high  arm 
circling  (  =  forward-upward,  side- 
\vay"s-downward) . 

Alternate  toe  touching  sideways  or  forward  with  bending  of  opposite  knee: 
Progression  similar  to  that  of  alternate  foot  placing. 

Heel  raising : 


Hip  grasp 
Neck  grasp 


stride  standing 

standing 

oblique  walk  standing 

close  standing 

forward  walk  standing 


heel  raising. 


Heel  raising  combined  with  arm  movements : 
Placing  hands  an  hips 
Arm  bending 
Forward  bending  of  arms 
Arm  flinging  sideways 
Arm  flinging  sideways,  palms  up, 
Arm  raising  or  flinging  forward 
Low  arm  circling,  palms  up, 
Placing  hands  on  neck 

Arm  bend  standing  arm  stretching  downward 
Arm  forward  bend  standing  arm  flinging  sideways 
Arm  bend  standing  arm  stretching  sideways 
Arms  front-horizontal  standing  arm  flinging  sideways 
Arm  bend  standing  arm  stretching  upward 
Arms  side-horizontal  (palms  up)  standing  arm  raising 

or  flinging  upward 
Arms  front-horizontal  standing  arm  raising  or  flinging 

upward 
High  arm  circling  (two  counts) 


with  heel 
raising. 


154 


GYMNASTIC  TEACHING 


Simple   arm    movements    with    alternate    foot   placings,    followed    by   heel 
raising : 

Placing  hands  on  hips 
Arm  bending 
Forward  bending  of  arms 
Placing  hands  on  neck,  etc. 


with  alternate  foot  plac-          and  then 
ings  sideways,   forward. 


obliquely  outward,  etc., 


heel 

raising. 


and    heel 
raising. 


Compound  (two-count)  arm  movements  with  alternate  foot  placings  and 
heel  raising : 

Arm  bending  and  stretching  sideways 
Forward  bending  and  side  flinging  of  arm 
Arm  flinging  forward  and  sideways 
Arm  bending  and  stretching  forward 
Arm  flinging  sideways  and  arm  rotation 
Arm  bending  and  stretching  upward  with  alter- 

Arm  flinging  sideways  and  upward  >  nate      foot 

Arm   flinging  forward  and  upward,   side-        placings 

ways  and  downward 
Half  sideways  bending  of  arms  and  arm 

stretching  sideways  or  upward 
Arm    flinging    forward-upward    and    arm 

parting 

Closing  and  opening  of  feet  may  be  substituted  for  alternate  foot  placings 
in  most  of  the  above  combined  and  compound  movements. 

Alternate  heel  raising  may  be  done  as  a  one-  or  two-count  movement  (on 
each  side)  from  the  stride  standing  position  with  the  arms  in  hip 
grasp  or  neck  grasp  positions. 

Alternate  toe   raising — from  the  hip  or  neck  grasp  standing  position. 

Alternate  heel-and-toe  raising — from  the  hip  or  neck  grasp  standing  posi- 
tions. 

Knee  bendings : 

standing  I 

stride  standing  •     knee  bending. 

oblique  walk  standing 


Hip  grasp 
Neck  grasp 


Stride   standing 
Toe  standing 


Knee  bendings  with  arm  movements  : 

arm  raising  or  Hinging  sideways 
arm  bending 
forward  bending  of  arms 
half  sideways  bending  of  arms 
arm  flinging  sideways-upward 
arm    circling,    low    or    high    (two 
counts) 

Arm  bend  stride  standing  arm  stretching  sideways 
Ann  forward  bend  stride  standing  arm  flinging  side- 
ways 
Arms  front-horizontal  stride  standing  arm  parting  (or 

flinging  sideways) 

Arm  bend  stride  standing  arm  stretching  forward 
Arm  bend  stride  standing  arm  stretching  upward 
Arms  side-horizontal  (palms  up)  stride  standing  arm 

raising 
Arms  front-horizontal   stride   standing  arm    raising  or 

flinging  upward 

Arms  overhead  stride   standing  arm    parting  (to  arms 
side-horizontal) 


with  knee 
bending. 


with    knee 
bending. 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


155 


Similar  combinations  of  arm  movements  with  knee  bending  and 
deep  knee  bending  from  the  toe  standing  position ;  also  knee  bend- 
ing with  simultaneous  heel  raising,  starting  from  the  fundamental 
standing  position. 


Hip  grasp 
Neck  grasp 


Standing 


standing 


knee  bending  with  simultaneous  heel 
raising  (designated  more  briefly  by 
"heels  off"). 


Arm  flinging  forward 

Arm  flinging  sideways 

Arm  bending 

Forward  bending  of  arms 

Arm  flinging  sideways-upward 

Arm  circling,  low  and  high  (two  counts) 


with  knee 
bending, 
heels  off. 


Close   standing  arm   flinging   forward   with   knee   bending    (knees   to- 
gether), heels  off. 

((stride  standing) 
standing  I     heel  raising  and 

oblique  walk  standing     |       knee  bending, 
forward  walk  standing 


Hip  grasp 
Neck  grasp 


standing  heel  raising  and  deep  knee  bending. 


Simple   arm   movements   with    alternate    foot    placings,    followed   by   knee 


bending : 

Placing  hands  on  hips 
Arm  bending 
Placing  hands  on  neck 


with  alternate  foot  plac- 
ing sideways, 

obliquely  forward-out- 
ward, 

obliquely  backward-out- 
ward, 


and  then  knee 
bending  (without 
heel  raising). 


The  last-mentioned  arm  movements  may  also  be  done  with  heel 
raising  (as  a  separate  movement),  followed  by  knee  bending.  The 
heel  raising  here  takes  the  place  of  the  foot  placing.  Example : 
Placing  hands  on  neck  with  heel  raising,  and  then  knee  bending. 

Compound    (two-count)    arm    movement   with   alternate    foot   placings,   or 
heel  raising,   followed  by  knee  bending : 

Arm  bending  and  stretching  sideways, 
forward  or  upward 

Forward  bending  and  side-flinging  of 
arms 

Arm  flinging  sideways  and  arm  rotation 

Arm  flinging  forward  and  sideways 
(arm  parting) 

Half  sideways  bending  of  arms  and  arm 
stretching  sideways  or  upward 

Arm  flinging  sideways  and  upward 
(separate  movements) 

Arm  circling  (high,  four  movements) 

Arm  flinging  forward-upward  or  side- 
ways-upward and  arm  parting 


with  heel  raising 
or  with  alternate 
>  i oot  placings  in 
the  different  di- 
rections 


and  knee 
bending. 


156  GYMNASTIC  TEACHING 

Alternate  foot  placing  with  (placing)     1     then  heel  raising  and 
hands  on  hips  (neck)  j     knee  bending. 

The  last  are  six-count  compound  movements  on  each  side,  the 
heel  raising  being  a  separate  movement.  The  arms  remain  in  the 
derived  positions  during  the  heel  raising  and  knee  bending. 


Ann  bending  and  stretching  side- 
ways, forward  or  upward 
Forward  bending  and  side-flinging 


arms 


And  all  the  other  two-count  (com- 
pound) arm  movements  (see 
above) 


with  alternate  I  heel  raising  and 
foot  plaeings,    J  knee  bending. 


These  are  also  six-count  cycles  (on  each  side),  the  heel  raising 
being  a  separate  movement.  The  arms  are  held  during  the  knee 
bending  in  the  position  reached  on  the  second  count  (which  ac- 
companies the  heel  raising). 

Finally,  combined  six-count  movements  may  be  composed  of 
three  arm  and  three  leg  elements,  as,  for  example: 

Arm  bending  and  stretching  forward,  or  upward,  then  arm  parting, 
combined  with  alternate  foot  plaeings,  heel  raising  and  knee  bend- 
ing; or 

Arm  bending  and  stretching  sideways!  [with  alternate  foot 

Forward  bending  and  side-flinging  of  I  then  arm  I  plaeings,  heel  rais- 
arms  J  raising,  j  ing  (separate)  and 

Arm  flinging  forward  and  sideways  I  knee  bending. 

Such  complex  movements  represent  a  good  deal  of  "head" 
work  and  would  hardly  be  suited  for  ordinary  class  work.  They 
may,  however,  be  used  occasionally  in  well-trained  classes  by  way 
of  stimulating  interest. 

Alternate  knee  bending. 

From    (wide)    stride    standing   position    with   the    arms    in    hip    grasp 

or  neck  grasp  position. 
May  be   done   as  a   simple   two-count   movement  on   each   side,   or   as 

a  continuous  movement  from  one  side  to  the  other  (one  count  each 

way),  both  knees  being  straight  at  the  moment  of  passing  the  central 

position,  but  without  stopping  there. 
May  also  be  started  from  the  side  lunge  position.     (See  below.) 

Side  lunge. 

Hip  grasp        I     stam]jn  r  alternate  side  lunge. 
Aeck  grasp     ) 

Combined  with  simple  arm   movements  : 

I'laeing  hands  on  hips 

Arm  bending  -.11.  •  i     i 

,  ,     •  ,.  c  >     with  alternate  side  lunge. 

I'orward  bending  of  arms 

Placing  hands  on  neck,  etc.,  etc. 


PROGRESSION  OF  FREE-STANDING  EXERCISES          157 

Placing  hands  on  hip  or  neck  with  (alternate)  side  lunge,  followed  by 

alternate  knee  bending  once  to  each  side. 
The  arms  remain  in  the  position  reached  on  the  first  count  during 

the  two  counts  of  the  alternate  knee  bending  and  are  brought  to 

the  fundamental  position  on  the  fourth  count,  as  the  foot  is  brought 

back  from  the  side  lunge  position. 

It  is  possible  to  combine  side  lunge,  followed  by  alternate  knee 
bending,  with  two-count  arm  movements.  The  latter  may  be 
asymmetrical,  i.e.,  occur  in  different  directions.  For  example : 
Left  side  lunge  with  right  arm  flinging  sideways,  left  sideways- 
upward,  then  alternate  knee  bending  with  change  of  arm  positions 
(two  counts),  return  to  fundamental  position  (four-count  move- 
ment on  each  side). 

Another  example  often  used  in  bar  bell  drills: 

Side  lunge  left  with  forward  bending  of  left  arm,  side  flinging  of  right, 
then  alternate  knee  bending  with  reversing  of  arm  positions  (two 
counts).  Return  to  fundamental  position.  Same  on  other  side. 

Stooping  (deep  knee  bending,  hands  touching  floor  between  feet,  knees 
outside  of  arms,  trunk  inclined  forward,  back  straight). 

Hip  grasp  standing  ~\ 

Arm  bend  standing  !     Stooping  (and  return  to 

Arm  forward  bend  standing  starting  position). 

Arms  side-horizontal  standing 

Neck  grasp  standing 

Arm  bend  standing  stooping,  alternating  with  arm  stretching  downward, 

sideways  or  upward. 
Arm   forward  bend  standing   stooping,   alternating  with   arm   flinging 

sideways. 
Arms  front-horizontal  standing  stooping,  alternating  with  arm  flinging 

sideways. 
Arms   side-horizontal    (palms  up)    standing  stooping,  alternating  with 

arm  flinging  upward. 

The  alternating  arm  movement  in  the  above  may  also  be  combined  with  heel 
raising. 


Upper  Back  Stretching  Exercises. 

Principles. 

Combining   stretching   movements   with   arm   movements. 

Doing  the  movement  with  the  arms  held  in  higher  and  more  difficult 
positions. 

Doing  the  movement  from  increasingly  difficult  leg  positions,  making 
the  base  narrower  or  more  elongated. 

Doing  the  movement  from  the  twist  standing  position. 

Combining  stretching  movements  with  trunk  twisting. 

Doing  stretching  movement  as  a  part  of  a  rhythmic  alternating  or 
compound  movement,  the  other  element  being  an  arm  or  leg  move- 
ment, or  even  a  forward-downward  bending. 


158 


GYMNASTIC  TEACHING 


Types. 

Some  of  the  quick  shoulder  blade  movements  (done  in  rhythm),  such 
as  arm  Hinging  sideways,  palms  up;  low  arm  circling,  palms  up;  high 
arm  circling,  three  and  two  counts,  all  with  (efforts  at)  backward 
moving  of  head,  may  be  used  in  the  beginning,  especially  with  an 
untrained  class,  as  preliminary  stretching  exercises. 

"Stretching."* 

Backward  moving  of  head  with  chest  expansion. 


Progression. 

Head  grasp  standing 
Hip  grasp  standing 
Neck  grasp  standing 
(Arm  bend  standing) 
Arms  overhead  standing 


"stretching. 


Simple  arm  movements  combined  with  backward  moving  of  head  (usually 
done  slowly  in  response  to  signal)  : 

Arm  rotation  (slow) 

Arm  raising  sideways  (slow) 

Arm  raising  sideways,  palms  up  (slower  quick) 

Lo\v  arm  circling,  palms  up,  (slow  or  quick) 

Arms   side-horizontal   standing    arm    rotation 

(slow) 
Arms   front-horizontal    standing    arm   parting 

(slow) 
Arm  bend  standing  arm    stretching  sideways 

(slow) 
Arms  side-horizontal  (palms  up)  standing  arm 

raising  (slow) 

Arm  raising  sideways-upward  (slow) 
Arm  circling  (high,  two  counts,  slow) 
Arm   circling    (high,    three    counts,    quick    or 

uneven) 
Arms  overhead  standing  arm  parting  (slow) 


with  backward 
moving  of  head. 


(Some  of  these  may 
so  be  done  quickly 
nd  repeated  rhythmi- 
dly.  They  are  then 
lore  like  shoulder 
lade  exercises  than 
retching'  exercises.) 


Also  a  few  three-count  arm  movements  combined  with  back- 
ward moving  of  head  (on  first  count;  first  and  second  counts  are 
quick,  third  usually  slow,  though  it,  too,  may  be  quick)  : 

Arm  bending  and  stretching  sideways  and  slow 
sinking 

Forward  bending  and  side-Hinging  of  arms 
and  slow  sinking 

Arm  flinging  forward  and  sideways,  palms  up, 
and  slow  sinking 

High  arm  circling,  three  counts  (forward-up- 
ward, sideways  to  shoulder  level,  palms  up, 
and  downward.  Last  count  quick  or  slow). 

Ann  bending  and  stretching  upward  and  slow 
sinking  sideways-downward. 


with  backward 

moving  of  head. 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


159 


Hip  grasp 

Arm  bend 

Arm  forward  bend 

Arms  side-horizontal 

Neck  grasp 

Arms  overhead 


stride  standing 

standing 

close  standing 

forward  walk  standing 

oblique  walk   twist   standing 

stride  twist  standing 

twist  standing 

close  twist  standing 


backward 
moving  of 
head  with 

chest 
expansion. 


Simple  slow  arm  movements  from  derived  arm  and  leg  positions  combined 
with  the  stretching  movement: 


Ann  bend 

Arms  front- 
horizontal 

Arms  side- 
horizontal 

Half  bent 
arms  side- 
horizontal 

Arms  side- 
horizontal, 
palms  up, 

Arms  over- 
head 


stride  standing 

standing 

close  standing 

forward  walk 
standing 

oblique  walk  twist 
standing 

stride  twist  stand- 
ing 

twist  standing 

close  twist  stand- 
ing 


slow  arm  stretching 
sideways  or  upward 

slow  arm  parting  or 
arm  raising 

slow  arm  rotation 

slow  arm  stretching 
sideways  or  upward 

slow  arm  raising 


slow  arm  parting 


with 

backward 
moving   of 
head  and 

chest 
expansion. 


Simple  arm  movements  alternating  with  the  stretching  movement,  done 
from  derived  arm  and  leg  position  as  well  as  the  twist  standing  posi- 
tion : 


Arm  bend 

Arm  forward 
bend 

Half  bent 
arms  side- 
horizontal 

Neck  grasp 


Arm  bend 

Arms      side- 
horizontal, 
palms  up, 
/  Neck  grasp 
I  Half   bent 
arms  side- 
horizontal 
Arms     over- 
head 


stride  standing 

standing 

close  standing 

forward  w  a  1  k 
standing 

oblique  w  a  1  k 
twist  standing 

stride  twist  stand- 
ing 

close  twist  stand- 
ing 


backward 
moving  of 
head  with 

chest 

expansion, 
alternat- 
ing with 


'arm     stretching     side- 
ways, 
arm  flinging  sideways. 

arm  stretching  side- 
ways, palms  up  or 
down. 

arm  stretching  side- 
ways, palms  up  or 
down. 

arm  stretching  oblique- 
ly upward. 

arm  raising. 


arm  stretching  upward. 


a  r  m  be  n  di  n  g  a  n  d 
stretching  upward  or 
arm  parting. 


Simple  quick  arm  movements  combined  with  alternate  foot  placings  and 
followed  by  the  stretching  movement.  Return  in  reverse  order,  mak- 
ing a  four-count  sequence.  Uneven  rhythm,  first  and  fourth  quick, 


161) 


GYMNASTIC  TEACHING 


second  and  third   slow, 
omitted. 

Placing  hands  on  hips 

Arm  bending 

Forward  bending  of  arms 

Placing  hands  on  neck 

Arm  flinging  sideways 

Half  sideways  bending  of  arms 

Arm  flinging  sideways-upward 

High  arm  circling  (two  counts) 


The  third   is  really  a  holding  count ;   may  be 


with  alternate  foot 

,      .  .  ,  I  ward    moving  of 

placing     sideways <  ,  ...      ? 

c  -       head   with  chest 

or  forward, 

I  expansion. 


then    back- 


Compound  (two-count)  arm  movements  the  first  part  of  which  is  quick  and 
combined  with  alternate  foot  placing  sideways  or  forward,  the  second 
part  slow  and  combined  with  the  stretching  movement.  Return  in 
reverse  order,  making  a  four-count  sequence.  Uneven  rhythm,  first 
and  fourth  quick,  second  and  third  slow.  Retain  "stretched"  position 
during  third  count.  Or  the  return  may  fte  made  in  one  movement — - 
a  quick  arm  flinging  sideways-downward.  This  makes  a  three-count 
sequence,  uneven  rhythm  (second  count  slow)  : 


Arm  bending  and  stretching  sideways 
Arm  flinging  forward  and  arm  parting 
Half  sideways  bending  of  arms  and  arm 

stretching  sideways 
Arm  bending  and  stretching  upward 
Arm  flinging  sideways  and  arm  raising 
Half  sideways  bending  of  arms  and  arm 

stretching  upward 
Arm    flinging    forward-upward    and    arm 

parting 


with  alternate 
foot  placing 
sideways  or 
forward 


[and  back- 
ward mov- 
ing of  head 
with  chest 
expansion. 


Arm  movements  with  trunk  twisting  and   simultaneous  backward   moving 
of  head  with  chest  expansion: 


Standing 
Stride  standing 
Oblique  walk  standing 

Arm  bend  standing       "j 
Half  bent  arms  side-     I 
horizontal     stand- 
ing 


Arm  circling,  low  and  high,  with  trunk 
twisting  and  simultaneous  backward  mov- 
ing of  head. 


slow  arm  stretching 
sideways  or  upward 


with  trunk  twisting 
and  backward  mov- 
ing of  head. 


Simple  quick  arm  movements  combined  with  alternate  foot  placing 
obliquely  forward-outward,  and  followed  by  trunk  twisting  to  same 
side,  then  by  backward  moving  of  head  (six  counts,  third  and  fourth 
slow,  others  quick)  : 

Arm  bending 

Forward  bending  of  arms 

Placing  hands  on  neck 

Arm  flinging  sideways 

Half  sideways  bending  of  arms 

Arm  flinging  forward-upward 

Arm  flinging  sideways-upward 

High  arm  circling  (two  counts) 

The  above  arm  movements  combined  with  alternate  foot  placing  obliquely 
forward-outward  and  simultaneous  trunk  twisting  to  same  side,  fol- 
lowed by  backward  moving  of  head  with  chest  expansion.  These  arc 


with  alter- 

and 

nate  foot 

backward 

placing 
obliquely 
forward- 

then  trunk 
twisting, 

moving    of 
head    with 
chest 

outward, 

expansion. 

PROGRESSION  OF  FREE-STANDING  EXERCISES 


161 


four-count  cycles,  the  increased  difficulty  consisting  in  the  triple  com- 
bination of  arm  and  leg  movement  with  trunk  twisting.  Uneven  rhythm : 
first  and  fourth  counts  quick,  second  and  third  slow. 

Compound  (two-count)  quick  arm  movements,  the  first  part  of  which  is 
combined  with  alternate  foot  placing  sideways,  or  obliquely  forward- 
outward,  the  second  with  trunk  twisting.  The  position  thus  reached 
is  held  during  the  slow  stretching  movement.  These  are  six-count 
cycles  (or  sequences)  : 


Arm  bending1  and  stretching  sideways 
Forward  bending  and  side-flinging  of 

arms 
Half   sideways   bending   of   arms    and 

arm  stretching  sideways 
Arm  bending  and  stretching  upward 
Half  sideways  bending  of  arms  and  arm 

stretching  upward 


with  alternate  foot 
placing  sideways 
or  obliquely  for- 
ward-outward and 
trunk  twisting, 


followed 
by   back- 
ward 
moving 
of  head 

with 

chest  ex- 
pansion. 


Compound  (two-count)  arm  movements,  the  first  part  of  which  is  quick 
and  combined  with  alternate  foot  placing  sideways,  or  obliquely  out- 
ward, the  second  part  slow  and  combined  with  trunk  twisting  and 
simultaneous  backward  moving  of  head  with  chest  expansion.  These 
are  four-count  cycles,  extremely  difficult  to  do  well. 

Arm  bending  with  alternate  foot  placing  sideways 

or  outward,  arm  stretching  sideways 
Half  sideways  bending  of  arms  with  alternate  foot 

placing,  arm  stretching  sideways 
Arm   bending  with   alternate   foot   placing,   arm    wlt 

stretching  upward  ing  and  b.a.ck^ard 

Half  sideways   bending   of   arms   with   alternate    ' 

foot  placing,  arm  stretching  upward 
Arm  flinging  forward-upward  with  alternate  foot 

placing,  arm  parting 


Lozvcr  Back  Stretching  Exercises. 


Types. 


(Forward  bending  of  trunk.) 

Forward-downward  bending  of  trunk,  with  straight  upper  back  and 
arms  held  in  the  various  derived  starting  positions. 

Forward-downward  bending  of  trunk,  with  straight  upper  back,  com- 
bined with  arm  movements  forward,  making  efforts  to  touch  the 
floor  with  the  hands. 

These  are  all  general  back  exercises  and  their  progression  will 
be  illustrated  under  that  head. 

Stooping.     Progression  of  this  type  has  been  given  under  leg  exercises. 

Knee  upward  bending. 

Leg  flinging  forward-upward. 

The  progression  of  these  types  will  be  illustrated  under  abdomi- 
nal exercises,  to  which  group  they  belong. 


162 


GYMNASTIC  TEACHING 


Lateral  Trunk  Exercises. 
Principles. 

Increasing  weight  leverage  by  carrying  the  arms  higher. 
Varying  the  base : 

(1)  Making  the  starting  position  more  secure  in  order  to  facilitate 
greater  range  or  more  perfect  localization  of  the  movement. 

(2)  Reducing  the  base,  thereby  introducing  the  balance  element  and 
thus  increasing  the  difficulty  of  the  movement. 

Alternating  and  combining  with  arm  or  leg  movements,  or  both. 

Doing  arm  movements  from  twist  standing  position. 

Doing  side  bending  of  trunk  from  the  twist  standing  position. 

Doing  leg  or  arm  movements,  or  both,  from  side  leaning  rest. 

Combining  arm  movements  with  leg  flinging  sideways. 

[In   exercises   at   the   bar   stalls   the   arms   or   legs   are    fixed,   thereby 

giving  opportunity  for  greater  range  and  weight  leverage  and  better 

localization.] 

Types. 

Trunk  twisting.  Side  bending  of  trunk.  Leg  raising  or  flinging  side- 
ways. Side  leaning  rest.  Charges. 

[Bar  stall  exercises:  Foot  grasp  standing  side  bending  of  trunk.  Foot 
grasp  sitting  backward  leaning  and  twisting  of  trunk.  Side  lying 
side  bending  of  trunk.  Grasp  side  opposite  standing  leg  flinging 
sideways.  Side  holding.] 

Progression. 

Trunk  twisting.     All  the  way  from  one  side  to  the  other  in  one  continuous 
quick  movement : 
Arm  bend 


Neck  grasp 

Arm  forward  bend 

Arms    sideways-horizontal 


stride  standing  quick  trunk  twisting  from 
one  side  to  the  other. 


All  the  way  from  one  side  to  the  other,  alternating  with  arm  movements  : 


Arm  bend 

Neck  grasp 

Arm  forward  bend 


stride  standing 
trunk  twisting 
all  the  way,  al- 
ternating with 


arm  stretching  sideways  or  up- 
ward. 

arm  stretching  sideways  or  up- 
ward. 

arm  flinging  sideways. 


Two  counts  each  way,  slow  or  quick: 


Arm  bend 

Neck  grasp 

Arm  forward  bend 

Arms  side-horizontal 


stride  standing 
oblique  walk  standing 
forward  walk  standing 
landing 


close  standing 

Alternating  with  arm  movements: 

Arm  bend 

Neck  grasp 

Ann    forward  bend 

Arm  bend 


alternate 

stride  standing 

trunk 

standing 

•twisting,  ' 

close  standing 

alternat- 

ing with 

alternate  trunk  twist- 
ing (two  counts  each 
side). 


arm  stretching  down- 
ward or  sideways. 

arm  stretching  side- 
ways or  upward. 

arm  flinging  side- 
way  s.- 

arm     stretching      up- 


PROGRESSION OF  FREE-STANDING  EXERCISES 


163 


Simple  arm  movements  combined  with  leg  movements,  and  followed  by 
trunk  twisting: 


Arm  bending 
Placing  hands  on  neck 
Forward  bending  of  arms 
Arm  flinging  sideways 


with  alternate  foot  placing 
sideways,  obliquely  outward, 

or  forward, 

or  with  closing  of  feet, 
or  with  oblique  charge, 


and  trunk 
twisting   (to 
side  of  mov- 
ing foot). 


Arm  movements  from  twist  standing  position : 


Twist    standing 


Arm  bend 


low  arm  circling,  palms  up. 
high  arm  circling,  two  or  three  counts, 
forward   bending   of  arms,  then  arm  flinging  side- 
ways and  downward. 


Arm  forward  bend 
Half      bent      arms 

side-horizontal 
Arms  side-horizon- 
tal (palms  up) 


stride 
forward  walk 
oblique  walk 
close 

twist 
•stand-< 
ing 

arm    stretching    sideways 

or  upward. 

arm  flinging  sideways, 
arm    stretching    sideways 

or  upward, 
arm  raising. 


Simple  arm  movements  combined  with  alternate   foot  placings  or  oblique 
charge  and  simultaneous  trunk  twisting: 


Placing  hands  on  hips 

Arm  bending 

Placing  hands  on  neck 

Forward  bending  of  arms 

Arm  flinging  sideways 

Arm  bend  standing  arm  stretching 

sideways 

Half  sideways  bending  of  arms 
Arm  flinging  sideways-upward 
High  arm  circling 
Arm  bend  standing  arm  stretching 

upward 


with  alternate  foot 
placing 

sideways,  oblique- 
ly outward  or 
forward, 

or  with  oblique 
charge 


and 
simultaneous 

trunk 
twisting. 


Compound  arm  movements,  the  first  part  of  which  is  combined  with  an 
alternate  foot  placing,  or  oblique  charge,  and  simultaneous  trunk 
twisting,  the  second  done  while  retaining  the  twist  standing  position : 

,arm  stretching 
sideways. 

arm  flinging  side- 
ways. 

arm  parting. 

arm  stretching 
sideways. 

a  r  m  stretching 
sideways  or  up- 
ward. 

arm  stretching  up- 


Arm  bending 

Forward  bending  of  arms 

Arm  flinging  forward 
Placing  hands  on  neck 

Half  sideways  bending  of  arms- 
Arm  bending 


Arm  flinging  sideways,  palms  up 
Arm  flinging  sideways-upward 
Arm  flinging  forward-upward 


with  alternate 
foot  placing 

sideways  or  ob- 
liquely out- 
ward 

or  with  oblique 
charge  a  n d 
with  simulta- 
neous trunk 
twisting;  fol- 
lowed by 


ward, 
arm  raising, 
arm  parting, 
(arm  parting. 


164 


GYMNASTIC  TEACHING 


The  above  compound  arm  movements,  the  first  part  of  which  is  com- 
bined with  an  alternate  foot  placing,  or  oblique  charge,  the  second 
with  trunk  twisting.  Examples: 

Forward  bending  of  arms  with   alternate   foot   placing  obliquely  out- 
ward, then  arm  flinging  with  trunk  twisting. 

Arm  bending  with  oblique  charge,  then  arm   stretching  upward  with 
trunk  twisting. 

Side  bending  of  trunk.  All  the  way  from  one  side  to  the  other  without 
stopping  in  the  upright  position : 

Hip  grasp  ] 

Neck  grasp  (stride  standing  side  bending  from  one  side  to 

Arms  side-horizontal  [the  other  in  one  continuous  movement. 
Arms  overhead 

Alternately  to  left  and  return,  then  to   right : 


Hip  grasp 

Arm  bend 

Neck  grasp 

Arm  forward  bend 

Arms  side-horizontal 

Half  bent  arm?  side-horizontal 

Arms  obliquely  overhead 

Arms  overhead 

Alternating  with  arm  movements 


stride  standing 

standing 

forward  walk  standing 

close  standing 

oblique  walk  twist  standing 

stride  twist  standing 


side 

bending 
of    trunk 

(two 
counts 

each 

way). 


Arm  bend 
Neck  grasp 
Arm  forward 
bend 
Arm  bend 
Neck  grasp 

stride  standing 
standing 
close  standing 
forward    walk 
standing 

alternate 
side 
bending 
of  trunk, 
alternat- 
ing  with 

arm  stretching  sideways, 
arm  stretching  sideways, 
arm  flinging  sideways. 

arm  stretching  upward, 
arm  stretching  upward. 

Simple  arm   movements  combined   with   leg  movements,   and    followed   by 
side  bending  of  trunk: 

Placing  hands  on  hips 

Arm  bending 

Placing  hands  on  neck 

Forward  bending  of  arms 

Arm  flinging  sideways 

Arm  bend  standing  arm  stretch- 
ing sideways 

Half  sideways  bending  of  arms 

Arm  flinging  diagonally  upward 

Arm  flinging  sideways-upward 

High  arm  circling 

Arm  bend  standing  arm  stretch- 
ing upward 

The   above    simple   arm    movements    with    alternate    foot    placing    obliquely 

(forward-)    outward,    or    sideways,    followed   by   trunk    twisting,    then 

side  bending  of  trunk.     Six-count  cycles. 
The  same  with  oblique  charge  instead  of  foot  placing.     The  trunk  twisting 

is  to  the  opposite  side  of  the  charge. 
The  above  arm   movements   with   oblique   foot  placing,   or  oblique  charge, 

and    simultaneous   trunk   twisting,    followed   by   side  bending  of   trunk. 

Four-count  cvcles. 


with  alternate  foot  plac- 
ings    sideways  or    for- 
ward; or  with   closing 
of  feet, 
or  with  side  lunge, 

and  then 
side 
bending 
of 

trunk. 

PROGRESSION  OF  FREE-STANDING  EXERCISES 


165 


Compound  arm  movements,  the  first  part  of  which  is  combined  with  an 
oblique  foot  placing  or  charge,  the  second  with  trunk  twisting,  fol- 
lowed by  side  bending  of  trunk.  Examples : 


and 
trunk 


{then  side  bend- 
ing of  trunk 
(six-count  cy- 
cles.) 


Arm  bending  and  stretch- 
mg  sideways  or  upward    lootwaFrd 


Wide  stride  standing  side  bending  with  simultaneous  knee  bending, 
same  with  simultaneous  arm  movements : 


The 


Hip  grasp 

Neck  grasp 

Arms  side-horizontal 

Arms  overhead 


wide  stride  standing  side-ancl-knee  bending. 


Arm  bend  stride  standing  arm  stretching  sideways  with   side-and-knee 

bending. 
Neck  grasp  stride  standing  arm  stretching  sideways  with  side-and-knee 

bending. 

Arm  flinging  sideways  with  alternate  foot  placing  sideways,  then  side- 
and-knee  bending. 

|  with    alternate    foot    placing   sideways,    then 
bendins  With   arm    ^etching 

Side  bending  of  trunk,  standing  on  one  foot.     See  balance  exercises. 
Leg  flingings  sideways. 

These  are  quick  movements  repeated  rhythmically  several  times  on  each 
side  (then  designated  left  and  right),  or  alternately.  The  position  is  not 
held  at  the  end  of  the  up-stroke,  the  recoil  from  which  marks  the  beginning 
of  the  return  movement.  At  the  end  of  the  down-stroke,  however,  the 
position  is  held  a  moment,  with  the  weight  equally  on  both  feet. 


Hip  grasp    j 
Neck  grasp) 


r        I  leg  flinging  sideways,  one  side  at  a  time. 
ns  \  alternate  leg  flinging  sideways. 


Combined  with  arm  movements : 

Half  hip  grasp  standing  leg  flinging  left  and   right  with  opposite  arm 
flinging  sideways,  or  sideways-upward. 

Standing  [alternate  leg  flinging  sideways    with    opposite 

Hip   grasp  standing)  arm  flinging  sideways,  or  sideways-upward. 

sideways, 
obliquely  upward, 
upward. 

upward  on  same,   sideways 
on  opposite  side. 

Hip  grasp  standing  jumping  on  toes  with  alternate  leg  flinging  sideways. 
Side  leaning  rest  (side  falling  position). 

Reached  by  (1)  stooping,  (2)  taking  the  front  leaning  rest,  (3)  turning 
90°.  Taking  the  position  and  returning  to  the  fundamental  standing  posi- 
tion thus  makes  a  compound  six-count  movement  when  repeated  rhyth- 
mically. The  side  leaning  rest  and  the  fundamental  positions  are  held 
longer  than  the  stooping  and  front  leaning  rest  positions.  The  rhythm 
is  therefore  quite  uneven.  The  free  arm  may  be  held  in  different  posi- 
tions, thus  : 


Arm     bend 
standing 

leg  flinging  left 
and  right 
alternate   leg 
flinging  side- 
ways 

with  arm 
stretching 

166  GYMNASTIC  TEACHING 

Hip  grasp 

Arm  bend          I    j}    leaning.  rest  and  return. 
Neck  grasp 
Arm  overhead! 

Arm  movements  or  leg  raising,  or  both  simultaneously,  may  be  done 
from  the  side  leaning  rest.  Such  movements,  however,  are  quite  difficult 
balance  exercises,  and  might  be  classified  as  such. 

side  leaning 


Hip  grasp 
Arm  bend 
Neck  grasp 


rest:    leg 
raising,  or 
leg     raising 
with 


arm  raising  sideways  or  sideways-upward, 
arm  stretching  sideways  or  upward, 
arm  stretching  sideways  or  upward. 


Charges  will  be  described  later,  under  that  head. 
[Types  of  lateral  trunk  exercises  done  at  the  bar  stalls: 

Grasp  side  leaning  rest.     Leg  raising  from  this  position. 

as^    [foot  grasp  side  Iving,  side  bending  of  trunk. 
Neck  grasp  J 

Grasp  side  opposite  standing  (one  leg  1  heel  raising. 

raised)  J  (double)  leg  Hinging  sideways. 

Side  holding  (retaining  the  position  reached  by  leg  flinging  sideways).] 


Back  Exercises. 

A.     Shoulder  blade  movements. 
Principles. 

Increasing  the  range  of  the  movement.    Increasing  the  speed. 

Increasing  difficulty  of  coordination,  in  "finding"  and  retaining  the 
final  position ;  by  doing  movement  from  difficult  starting  position. 

Increasing  antagonistic  muscular  resistance  by  making  the  movement 
slower. 

Increasing  weight  leverage  and  difficulty  of  coordination  by  doing 
movement  from  starting  positions  in  which  the-  trunk  is  inclined  for- 
ward, e.g.,  trunk  forward  bend  standing  position,  charge  position ; 
or  from  twist  standing  position.  (Increasing  resistance  by  mechan- 
ical contrivances,  e.g.,.pully  weights.) 

Types. 

Arm  bending;  forward  bending  of  arms;  arm  flinging  sideways  with 
palms  down  or  up  ;  placing  hands  on  neck ;  arm  rotation  from  stand- 
ing and  arms  side-horizontal  position;  arm  flinging  forward;  half 
sideways  bending  of  arms ;  arm  flinging  forward-upward,  and  side- 
ways-upward ;  arm  circling,  low  and  high  :  arm  bending  and  stretch- 
ing sideways,  forward,  upward;  arm  flinging  forward,  sideways  and 
downward;  arms  front-horizontal  standing  arm  parting  (or  flinging 
sideways),  palms  down  or  up;  arms  front-horizontal  standing  arm 
flinging  upward;  swimming  movement;  arms  overhead  standing 
arm  parting;  asymmetrical  arm  movements,  such  as  arm  stretching 
in  diverse  directions,  starting  from  the  arm  bend  standing  position; 
lowering  one  arm  and  raising  the  other,  etc. 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


167 


Progression. 

By  types.  The  various  types  embody  the  application  of  the  above  princi- 
ples in  varying  degrees. 

Many  of  these  types  are  used  chiefly  in  combination  or  alternation 
with  movements  of  other  groups.  In  the  beginning  of  any  series 
of  lessons,  however,  they  may  with  advantage  be  practiced  separ- 
ately, either  on  signal  or  as  continuous,  rhythmic  movements. 

B.    General  back  movements. 
Principles. 

Varying  the  starting  position  of  the  legs  so  as  to  increase  or  diminish 

stability,   facilitate  localization  of   movement,  or  increase  resistance 

and  difficulty  of  coordination. 
Varying  the  starting  position  of  the  arms,  thereby  increasing  weight 

leverage  and  difficulty  of  coordination. 
Increasing  the  range  of  the  movement— from  only  a  slight  forward 

inclination  to  45°,  then  to  the  horizontal  and  beyond  (with  straight 

upper  back). 
Doing  head  or  arm  movements  while  holding  the  trunk  forward  bend 

standing,  prone  lying,  or  charge  position. 
Alternating  back  movement  with  arm  movements,  or  with  combined 

arm  and  leg  movements   (in  rhythm). 
Combining  back  movement  with  arm  movements  or  leg  movements, 

or  both  (in  the  case  of  a  few  complex,  rhythmic  exercises). 

Types. 

Forward  bending  of  trunk  (45°  inclination  from  hips). 

Forward-downward  bending  of  trunk  (to  horizontal  and  beyond) 
with  upper  back  straight,  arms  held  rigid  in  one  of  the  derived 
positions. 

Stooping.  Front  leaning  rest.  Foot  placings,  arm  and  leg  raising 
from  this  position.  (Front  leaning  rest  is  also  an  abdominal  exercise.) 

Forward-downward  bending  of  trunk  from  the  wide  stride  standing 
position  with  simultaneous  movement  of  the  arms  forward  in  an 
effort  to  touch  the  floor.  Upper  back  is  kept  straight,  however. 

Forward  bending  of  trunk,  standing  on  one  foot,  other  leg  in  line  with 
the  trunk. 

Forward  charge.     Forward  bending  of  trunk  from  this  position. 

Reverse  (backward)  charge.  Toe-support  charge.  Horizontal  bal- 
ance position  on  one  foot. 

Oblicjue  charge  with,  or  followed  by,  trunk  twisting  to  same  side. 
Forward  bending  of  trunk  from  this  position. 

[At  bar  stalls :  Foot  grasp  charge.  Forward  bending  from  this  posi- 
tion. 

Prone  lying  position  (on  bench).  Forward  bending  from  this  posi- 
tion.] 

Progression. 

Forward  and  forward-downward  bending  of  trunk  : 
Hip  grasp 

Arm  bend  stride  standing- 

Neck  grasp  standing 

Arm  forward  bend    close  standing 
Arms      side-hori-  /-forward  walk  standing 

zontal  oblique  walk  twist  standing- 

Half    bent     arms    forward  charge 

side-horizontal     oblique  charge  twist  standinj 
Arms  overhead 


forward  bending 
of  trunk. 


168 


GYMNASTIC  TEACHING 


Hip  grasp  I       jd     standing 

Arm  bend  (Standing) 

Neck  grasp  ciose standing) 

Arms  overhead  J  v 


forward-downward 
ing  of  trunk. 


bend- 


Hip  grasp               v      ._,.,_, 

Arm  bend 

s  i  r  i  u  e 

Arm      for  w  a  r  d 

standing 

bend 

standing 

Neck  grasp 
Half    bent    arms 
side-horizontal 

close 
standing 
for  w  a  r  d 

forward 
bending 
of  trunk,* 

Arm  bend 
Neck  grasp 

walk 
standing 

alternat- 
ing with 

Half    bent    arms 

oblique 

side-horizontal 

w   a    1    k 

Arms  overhead 

twist 

standing 

Arm  bend 

stride 

forward- 
down- 

Neck grasp 

standing 
standing 

ward 
bending  • 

Arms  overhead 

close 
standing 

of  trunk, 
alternat- 
ing with 

Forward  bending  and  forward-downward  bending  of  trunk,  alternating 
with  arm  movements : 

arm  stretching  downward, 
arm  stretching  sideways, 
arm  flinging  sideways. 

arm  stretching  sideways, 
arm  stretching  sideways. 

arm  stretching  upward, 
arm  stretching  upward, 
arm  stretching  upward. 

arm  parting,  or  bending  and 
stretching  upward. 

arm  stretching  sideways  or 
upward. 

arm  stretching  sideways  or 
upward. 

arm  parting  or  bending  and 
stretching  upward. 

Simple  arm  movements  with  alternate  foot  placing  sideways,  or  forward, 
followed  by  forward  bending,  or  forward-downward  bending  of  trunk: 

Placing  hands  on  hips 
Arm  bending 
Placing  hands  on  neck 
Forward  bending  of  arms 
Arm  flinging  sideways 
Half  sideways  bending  of  arms 
Arm  flinging  forward-upward 
Arm  flinging  sideways-upward 
Arm  bend  standing  arm  stretching 
upward 

Placing  hands  on  hips 

Arm  bending 

Placing  hands  on  neck 

Placing  hands  overhead  (or  arm 
flinging  forward-upward,  or 
arm  flinging  sideways-up- 
ward) 

Arm  bendstanding  arm  stretch- 
ing upward 

The  above  arm  movements,  combined  with  alternate  foot  placing  obliquely 
outward  and  simultaneous  trunk  twisting,  followed  by  forward  bend- 
ing of  trunk. 

Stooping  (deep  knee  bending  with  forward  inclination  frbm  hips,  back 
straight,  hands  on  floor)  : 


with  alternate  foot]  and  forward 
placing  sideways  >  bending  of 
or  forward,  ]  trunk. 


with  alternate  1  and  forward-down- 
foot  p  1  a  c  i  n  g  !•  ward  bending  of 
sideways,  J  trunk. 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


169 


Hip  grasp  standing 

Arm  bend  standing 

Arm  forward  bend  standing 

Neck  grasp  standing 

Arms  side-horizontal  standing 

Alternating  with  arm  movements : 
Arm  bend  standing 


Arm      forward     bend 

standing 

Neck  grasp  standing 
Arms     side-horizontal 

standing 
Arms  front-horizontal 

standing 


stooping, 
alternat- 
ing with 


stooping  and  return  to  starting 
position. 


arm   stretching   sideways,   forward 

or  upward, 
arm  flinging  sideways. 


arm  stretching  sideways  or  upward, 
arm   bending   and  stretching  side- 
ways, 
arm  flinging  sideways. 


Alternate  foot  placing  forward-backward  from  stooping  position  (or  from 
front  leaning  rest). 

From  a  wide  stride  standing  position  with  the  arms  in  a  derived  starting 
position  bending  downward  with  straight  upper  back  (keeping  knees 
straight),  and  making  an  effort  to  touch  the  floor,  then  returning  to 
starting  position  : 

Arm  bend 

Arm  forward  bend      [wide  stride  standing  downward  bending,  touch- 
Neck  grasp  f  ing  floor,  and  return. 
Arms  side-horizontal  I 


The  same,  alternating  with  arm  movements  : 


Arm  bend  stride  standing' 

Arm  forward  bend  stride 
standing 

Neck  grasp  stride  stand- 
ing 

Arms  s  i  d  e-h  o  r  i  z  o  n  t  a  1 
stride  standing 

Arms  overhead  stride 
standing 


down- 
ward 
bending, 
touching' 

floor, 
alternat- 
ing with 


arm  stretching  sideways  or  up- 
ward, 
arm  flinging  sideways. 

arm  stretching  sideways  or  up- 
ward. 

arm  bending  anu  stretching  side- 
ways, or  arm  raising. 

arm  parting,  or  bending  and 
stretching  upward. 


Compound  (two-count)  arm  movements  (from  fundamental  position),  the 
first  part  of  which  is  combined  with  a  wide  alternate  foot  placing 
sideways,  the  second  (a  forward  movement  of  the  arms)  with  a  for- 
ward-downward bending  (touching  the  floor).  Upper  back  straight: 


Placing  hands  on  hips 
Arm  bending 
Placing  hands  on  neck 
Forward  bending  of  arm> 
Arm  flinging  forward 
Arm  flinging  sideways 
Placing  hands  overhead 


with  alternate  foot  placing  sideways  (wide 

step),  then 
forward-downward  bending,  touching  floor. 

Return  in  reverse  order. 


Similar    compound    movements,    starting    from    and    returning    to    derived 
arm  positions  • 


170 


GYMNASTIC  TEACHING 


Arm  bend  standing  arm  stretching  sideways 
Ann  forward  bend  standing'  arm  flinging  side- 
was' s 
Arms  oide-horizontal  standing  arm  bending, 

or  forward  bending  of  arms 
Neck  grasp  standing  arm  stretching  sideways 
Arms  overhead  standing  arm  bending 


with  alternate  foot 
placing  sideways 
(wide  step),  then 

downward  b  e  n  d  i  n  g , 
touching  floor,  and 
return  in  reverse  or- 
der. 


Compound  combined  four-count  movements,  in  which  the  "going"  and 
"return"  phases  arc  dissimilar.  The  first  part  is  a  simple  arm  move- 
ment— bending  or  flinging;  the  second  is  a  quick  forward-downward 
bending  of  trunk  combined  with  a  double  wide  foot  placing  sideways 
(jump)  and  a  simultaneous  forward-downward  thrust  of  the  arms  in 
an  effort  to  touch  the  floor;  the  third  is  a  (quick)  trunk  raising  com- 
bined with  an  arm  movement  similar  to  the  first ;  the  fourth  is  a  bringing 
of  the  feet  together  with  a  jump  combined  with  a  movement  of  the 
arms,  either  to  the  fundamental  position,  or  to  some  derived  position. 
In  the  forward-downward  bending  of  trunk  the  upper  back  and  the  knees 
should  be  kept  straight.  Examples : 

(1)  Arm  bending;  (2)  foot  placing  sideways  with  downward  bend- 
ing, touching  floor;  (3)  trunk  raising  with  arm  bending;  (4) 
jump  to  fundamental  standing  position. 

(1)  Arm  bending  (or  forward  bending  of  arms)  ;  (2)  foot  placing 
sideways  with  downward  bending,  touching  floor;  (3)  trunk 
raising  with  arm  bending  (or  forward  bending  of  arms)  ;  (4) 
jump  to  position  with  arm  stretching  sideways,  or  upward  (or 
flinging  sideways).  (The  repetitions  start  from  this  derived 
arm  position.) 

(1)  Arm  flinging  sideways;  (2)  foot  placing  sideways  with  down- 
ward bending,  touching  floor;  (3)  trunk  raising- with  arm  fling- 
ing sideways;  (4)  jump  to  fundamental  standing  position. 

(1)  Arm  bending  (or  placing  hands  on  neck)  ;  (2)  foot  placing  side- 
ways with  downward  bending  touching  floor;  (3)  trunk  raising 
witli  arm  flinging  sideways,  or  forward-upward  (bringing  the 
arms  straight  overhead)  ;  (4)  jump  to  fundamental  standing 
position  (bringing  the  arms,  if  overhead,  down  through  the  side 
plane). 


[Types  of  back  exercises  done  at  the  bar  stalls  : 

foot  grasp  charge  standins 


Hip  grasp 
Arm  bend 
Arm  forwan 
Xeck  grasp 
etc. 


position 

foot  grasp  prone  lying  po- 
sition 


Forward  bending  of 
trunk,  or  arm  move- 
ments from  these  po- 
sitions. ] 


.  Ibdominal  It.vcrciscs. 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


171 


Doing  arm  movements   from  positions   sustained  by  static  action  of 

abdominal  muscles. 
Increasing  the   severity  of   the   movement  by   doing   it   with   straight, 

instead  of  bent  knee ;  with  both  legs,  instead  of  one  at  a  time. 
Increasing  the  speed  of  the  movement,  so  as  to  require  more  sudden 

and  intense  effort. 

Types. 

Standing  knee  upward  bending,  leg  flinging  forward,  and  leg  circling. 
Lying  knee  upward  bending,  leg  raising,  and  sinking  sideways. 
Kneeling  (on  one  knee  or  both)  backward  leaning  of  trunk. 
Front  leaning  rest    (prone   falling  position)    and   foot  placing   forward 

and  backward  from  this  position. 
Trunk  twistings. 

[At  bar  stalls: 

Foot  grasp  sitting  backward  leaning  of  trunk. 

At  pulley  weights : 

Arm   movements,  standing  with  back  to   weights,  abdomen  retracted. 
On  quarter  circle : 

Arm  swinging  forward-upward  and   forward-downward. 
On  suspension  apparatus : 

Hanging  knee  upward  bending,  leg  raising,  etc.] 

Progression. 

Knee  upward  bending,  leg  flinging  forward,  and  leg  circling: 

Left  and  right  (movement  re- 
peated on  one  side  at  a  time; 
weight  settles  on  both  feet  at 
end  of  each  movement).  At 
first,  stop  at  the  change.  Later 
make  repeated  changes  without 
interrupting  the  movement. 

Alternate. 


Hip  grasp 
standing 

Neck  grasp 
standing 


knee  upward  bending 
leg  flinging  forward 
leg  circling 


Arms  (oblique- 
ly) overhead 
lying 

Neck  grasp  ly- 
ing 


Knee  upward  bending — left  and  right,   both,  alter- 
nate. 

Knee  upward  bending  and  stretching  (45°). 
Leg  raising— left  and  right,  both,  alternate. 
Leg  raising  and  sinking  sideways. 


Kneeling  backward  leaning  of  trunk   (movement  takes  place  at  knee). 


Hip  grasp 

Arm  bend 

Arm  forward  bend 

Arms  side-horizontal 

Neck  grasp 

Arms  overhead 


kneeling  (on 
or  both) 


one  knee    Also    the    various    arm 
movements    from     the 


backward     leaning     of  [backward  leaning  posi- 


trunk 


Jtit 


Front   leaning   rest    (reached   by    (1)    stooping,    (2)    extending   legs    back- 
ward) : 

Front  leaning  rest  and  return    (four-count  compound  movement). 
Front  leaning  rest :  foot  placing  forward  and  backward.     May  be  done 


172  GYMNASTIC  TEACHING 

repeatedly,  or  only  once,  followed  by  return  to  standing  position. 
In  the  latter  case  it  is  a  six-count  movement. 

Front  leaning  rest :  arm  bending — repeatedly  or  only  once,  followed  by 
return  to  standing  position,  making  a  six-count  compound  move- 
ment. 

Front  leaning  rest:  foot  placing  forward  and  backward  (once),  then 
arm  bending  and  stretching  (once),  followed  by  return  to  standing 
position,  making  an  eight-count  compound  alternating  -movement. 

Trunk  twistings,  arm  movements  and  side  bending  from  the  twist  standing 
position.     See  Lateral  Trunk  Exercises. 

[Bar  stall  exercises: 


Hip  grasp 

Arm  bend 

Arm  forward  bend 

Neck  grasp 

etc. 


foot  grasp  sitting,  backward  leaning  of  trunk. 


Arm  bend     I  foot  grasp  sitting 

vr     ,  i  i         •          r  .         i   i  followed  by  trunk  twisting. 

Neck  grasp)  backward  leaning  ot  trunk  | 

Pulley  weight  exercises   (back  to  the  weights,  one   foot  forward,  abdomen 
in)  : 

Arm  bend  standing  arm  stretching  forward. 
Arms  front-horizontal  standing  arm  parting. 

Standing   (hands  at  side)   arm  swinging  forward-upward,  and  forward- 
downward. 

Alternate  arm  swinging  forward-upward,  forward-downward. 
Alternate  arm  circles    ("wind  mills")    with  trunk  twisting. 

On  quarter  circle  : 

Arm  swinging  and  alternate  arm   swinging   forward-upward  and   for- 
ward-downward. 
Arm  circk-s  and  alternate  arm  circles   (both  ways). 

On  suspension  apparatus  : 

Hanging  knee  upward  bending  I  alternate,  two  counts  each  side. 

Hanging  knee  upward  bending  and  I  alternate     (one     up,     the    other 

stretching  forward  [      down). 

Hanging  leg  raising  both  legs. 

Hanging  knee  upward  bending  with  simultaneous  trunk  twisting. 

Hanging  leg  raising  and  leg  parting. 

Hanging  leg  raising   followed  by  trunk  twisting. 

Swing  jumps,  starting  >wing,  circles,  upstarts,  climbing,  etc.] 


Balance   l-'.rcrcises. 
Principles. 

Reducing  the  base  by  var\ing  the  starting  position  of  the  legs. 
Raising  the  center  of  gravity   by   varying  the   starting  position   of   the 

amis. 

Doing  arm  movements  while  holding  a  position  of   diHiciilt  balance. 
Doing  leg  movements  while  holding  a   position  of   difficult   balance. 
Doing  head  twisting  while  holding  a  position  of  difficult   balance. 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


173 


Combining  arm  movements  with  leg  movements  from  a  position  with 
reduced  base. 

Varying  the  intervals  between  signals  for  repetitions  of  simple  move- 
ments, or  for  the  parts  of  compound  movements,  of  difficult  balance. 

Quick  and  unexpected  changes  from  one  side  to  the  other  when 
holding  positions  on  one  foot. 

Doing  a  trunk  movement  while  standing  on  one  foot,  and  holding 
the  position  reached  a  varying  length  of  time. 


Types. 


Toe  standing  position.     Toe-knee-bend  standing  position. 

Toe  standing  march  steps  forward,  backward  and  sideways  on  signal. 

Standing  position  on  one  foot,  the  free  leg  raised  forward  or  sideways. 

Balance  march  steps,  without  and  with  knee  upward  bending  or  leg 
flinging  forward  (touch  step).  On  signal  and  in  slow  rhythm. 

Heel  raising,  heel  raising  and  knee  bending,  especially  from  a  position 
with  narrow  and  elongated  base. 

Standing  position  on  one  foot,  other  knee  raised  ;  quick  change  by  a 
jump  (on  signal). 

Standing  position  on  one  foot,  the  other  leg  raised  forward  or  side- 
ways, quick  change  (by  a  jump). 

Knee  bending  while  standing  on  one  foot. 

Heel  raising  while  standing  on  one  foot,  with  and  without  mutual 
support. 

Toe-support   charge   position. 

Horizontal  balance  position  on  one  foot,  reached  from  the  toe-support 
charge  position  by  raising  the  rear  leg,  or  by  the  following  move- 
ment : 

Standing  position  on  one  foot :  forward  bending  of  trunk  with  bending 
Of  knee  of  supporting  leg,  while  the  other  leg  is  raised  backward 
with  straight  knee. 

Standing  position  on  one  foot:  forward  bending  of  trunk  with  both 
knees  straight,  free  leg  in  line  with  trunk. 

Standing  position  on  one  foot :  side  bending  of  trunk,  both  knees 
straight,  free  leg  in  line  with  trunk. 

Front  leaning  rest :  arm  and  leg  raising. 

Side  leaning  rest :  arm  and  leg  raising. 

(Walking  on  balance  beams  in  various  ways. 

Holding  the  toe-knee-bend  standing  position  in  landings  of  jumps, 
vaults  and  dismounts.) 


Progression. 

Toe  standing  and  toe-knee-bend  standing  position  : 

toe  standing- 
close   toe    stand- 
ing 

forward  walk  toe  toe - knee -  beml 

standing  f  antl     standing     posi- 

close  forward 
walk  toe  stand- 
ing 


Hip  grasp 
Arms       side- 
horizontal 
Neck  grasp 
Arms     over- 
head 


head  twisting, 
or  arm  move- 
ments, from 
these  p  o  s  i- 
tions. 


Slow  or  quick  heel  raising,  heel  raising  and  knee  bending,  knee  bending 
with  (simultaneous)  heel  raising,  without  and  with  arm  movements 
(usually  on  signal)  : 


174 


GYMNASTIC  TEACHING 


Arm  bend 

arm    stretching    sideways" 

standing 

or  upward 

Arm     forward 

close  standing 

arm  flinging  sideways 

with 

bend 

forward   walk 

slow  or 

Anns    side  -hori- 

•    standing 

arm  raising 

•    quick 

zontal       (palms 

close  forward 

heel 

up) 

walk  stand- 

raising. 

Half    bent    arms 

ing 

arm    stretching    sideways 

side-horizontal 

or  upward 

IT-      r     ,       [toe  standing  | 

asP    {  oblique  walk  toe  standing  I  knee  bending. 
3  [forward  walk  toe  standing] 


arm      stretching     side- 
ways or  upward 
arm  flinging  sideways 

arm  raising 


arm     stretching     side- 
ways or  upward 
arm  parting 


Arm  bend 

standing,   close 
standing 

Arm     forward 

stride     toe 
standing 

Dend 
Arms    side  -  hori- 
zontal     (palms 

toe  standing 
close  toe  stand-' 

up) 
Half    bent    arms 
side-horizontal 
Arms  overhead 

ing 
oblique   walk 
toe  standing 
forward    walk 
toe  standing 

with  slow 
or  quick 

knee 
bending. 


When  these  movements  are  done  from  the  standing  and  close  standing 
positions  the  knee  bending  is  done  with  simultaneous  heel  raising. 


Balance  march  steps : 
Hip  grasp 

Arms  side-horizontal 
Xeck  grasp 


toe    standing    march    steps    forward,  backward 
and  sideways,  on  signal. 


Standing 
Hip  grasp  standing. 
Arms  side-horizon- 
tal standing 


balance  march 

balance  march  with  follow 
step 

balance  march  with  knee  up- 
ward bending  and  stretch- 
ing forward-downward 

balance  march  leg  flinging 
forward 


each  part  on  sig- 
nal, or  continuous 
movement  in  slow, 
uneven  rhythm. 


Combined  with  three-count  arm  movements 

Arm  bending  and  stretching  sideways 

and  slow  sinking 
Forward   bending  and  side-flinging  of 

arms  and  slow  sinking 
Arm  bending   and   stretching   upward 

and  lowering  sideways-downward 
High    arm    circling    (forward-upward, 

sideways,  and  downward) 

Positions  and  movements  while  standing  on  one  foot 


Hip  grasp 
Anns  side-hori; 
Neck  grasp 


with  balance  march  with 
knee  upward  bending  and 
stretching  forward-down- 
ward. Uneven  rhythm. 


th 


standing    position    on    one    f 

raised  forward  or  sideways 
standing  position  on  one  I  knee  stretching   (for- 

foot,    the    other    knees  ward)'  from  this  posi- 

raised  tion. 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


175 


Quick  changes  from  one  foot  to  the  other   (by  a  jump)   in  any  of  these 


positions. 


arm  stretching  sideways  or 
upward 

arm  flinging  sideways 

I  arm  raising  .with  knee 

'•stretching 
(forward). 

arm  stretching  sideways  or 

upward 
arm  parting 

This  group  may  also  be  done  as  four-count  compound  combined  move- 
ments (usually  quick),  started  from  the  fundamental  position.  They 
may  be  done  on  signal,  or  repeated  in  slow  rhythm.  In  the  latter 
case  the  class  should  be  prepared  to  stop  in  any  position  without 
warning. 

Hip  grasp 

standing  position  on  one  foot  (free  leg  raised 
forward)  knee  bending  (supporting  leg) . 


Arm  bend 

Arm     forward 
bend 

standing 
position 

Arms     side  -hori- 
zontal     (palms 
\ 

on  one 

foot, 
other 

up) 
Half    bent    arms 
side-horizontal 

knee 
raised; 

Arms  overhead 

Arms  front-horizontal 
Arms  side-horizontal 
Neck  grasp 

Arms  side-horizontal  standing  posi- 
tion on  one  foot  (free  leg  raised  for- 
ward or  sideways) 

Hip  grasp  standing  position  on  one 
foot  (free  leg  raised  forward  or  side- 
ways) 

Arm  bend      1 

standing  position  on  one 
Arms    side-  \     foot    (free    leg    raised 

horizontal        forward  or  sideways) 

(palms  up)J 


heel    raising!  with         [mutual 
heel    raising  J  without j  support 


arm   stretching    sideways   or 

upward  with  heel  raising, 
arm  raising  with  heel  raising. 


Standing  position  on  one  foot  (leg  forward  or  sideways)  arm  circling  (low 
or  high)   with  heel  raising. 

Toe-support  charge  and. horizontal  balance  position  on  one  foot: 

Raising  of  rear  leg  to  hori- 
zontal balance  position  on 
one  foot. 
(May  also  be  taken,  with- 


Hip  grasp 

Arm  bend 

Neck  grasp 

Arm  forward  bend 

Arms  side-horizontal 

Arms  overhead 


toe-support  charge 
position 


out  or  with  arm  move- 
ments, from  standing  po- 
sition.) 


Forward  bending  and  side  bending  of  trunk  while  standing  on  one  foot: 


Hip  grasp  standing 
Arm  bend  standing 
Neck  grasp  standing 
Arm    forward    bend 

standing 
Arms  side-horizontal 

standing 
Arms    overhead 

standing 
The  above  may  be  done  with  simultaneous  arm  movements. 


forward  bending  of  trunk,  free  leg  moving  back- 
ward, in  line  with  trunk. 

same  with  bending  of  knee  of  supporting1  leg  (to 
horizontal  balance  position  on  one  foot). 

side  bending  of  trunk,  free  leg  moving  sideways 
in  line  with  trunk. 


176 


GYMNASTIC  TEACHING 


Front  leaning  and  side  leaning  rests  and  arm  and  leg  movements : 

I  alternate  leg  raising. 
Front  leaning  rest  •>  alternate  arm  raising. 

[alternate  opposite  arm  and  leg  raising. 

Side  leaning  rest ;  arm  and  leg  movements.  See  Lateral  Trunk  Exer- 
cises. 

Charges. 
Principles. 

Varying  the  position  of  the  arms  to  increase  weight  leverage  and  diffi- 
culty of  coordination. 

Combining  charge  with  arm  movements. 

Returning  by  follow  step.     Facing  90°  at  the  change. 

Doing  arm  movements  while  holding  charge  position. 

Doing  charges  and  arm  movements  as  combined  compound  move- 
ments. 

Doing  trunk  movements  while  holding  charge  position. 

Doing  charges  and  trunk  movements  as  compound  movements. 

Combining  charges  with  trunk  twisting   (and  with  head  twisting). 

Doing  arm  movements  while  holding  twist  charge  position. 

Doing  charges,  trunk  twisting  and  arm  movements  as  compound  com- 
bined movements. 

Doing  charges,  arm  movements,  trunk  twisting  and  trunk  bendings  as 
compound  combined  movements. 

Types. 

Oblique  charge.  Forward  charge.  Side  charge.  Toe-support  (re- 
verse) charge. 

Reverse  (backward)  charge.  Reverse  oblique  charge.  Reverse  side 
charge. 

Progression. 


Hip  grasp  standing    I  oblique  Icharee 

Neck  grasp  standing  j  reverse  oblique] 


>r,  preferably, 


Placing  hands  on  hips 

Arm  bending 

Placing  hands  on  neck 

Arm  bend  standing  arm  stretching  up- 
ward 

Arm  Hinging  forward-upward,  or  side- 
ways-upward 

Placing  hands  on  hips 
Arm  bend  ing- 
Placing  hands  on  neck 
Forward  bending  of  arms 
Arm  flinging  sideways 
Arm  forward  bend  standing  arm   fling- 
ing sideways 

Arm  bend  standing  arm  st  ivtehing  side- 
ways, or  upward 
Half  side-ways  bending  of  arms 
Ann   flinging  forward-upward,  or  side- 
ways-upward 


with  J°blique  cllai'tfe- 

reverse  oblique  charge. 


forward  char 
side  charge. 


PROGRESSION  OF  FREE-STANDING  EXERCISES 


177 


Arm  movements  may  be  done  repeatedly  from  some  of  the  above  charge 
positions,  or  only  once.  In  the  latter  case  the  whole  is  done  as  a  com- 
bined compound  movement : 


Arm  bending 

Forward  bending 
of  arms 

Arm  flinging  side- 
ways 

Arm  flinging  side- 
ways (palms  up) 

Placing  hands  on 
neck 

Half  sideways 
bending  of  arms 

Placing  hands 
overhead,  or 

Arm  flinging  for- 
ward-upward 


with 


oblique 

forward 

side 

toe-support 

reverse 
(backward) 

reverse  ob- 
lique 

reverse   side 


charge, 
then 


arm  stretching  side- 
ways or  upward. 

arm  flinging  side- 
ways. 

arm  rotation. 

arm  raising. 

arm  stretching  up- 
ward. 

arm  stretching  side- 
ways or  upward. 

arm  parting. 

arm  parting. 


Oblique  charges  followed  by,  or  combined  with,  trunk  and  arm  movements : 
Arm  bending  with 


Placing  hands  on 

neck  with 
Forward  bending 

of  arms  with 


oblique  charge 

reverse  oblique 
charge 


and  trunk  twisting 

or 
with  trunk  twisting 


to  same  side, 
to     opposite 
side. 


Arm   movements   may    follow   the   trunk   twisting,    or   they   may    be    done 
simultaneously,  thus : 


Arm    bending 
with 
Forward    bend- 
ing   of     arms 
with 

oblique  charge 

reverse  oblique 
charge 

then 


arm    stretching 

sideways 
arm  flinging 

sideways. 


with  trunk 
twisting  to 
same  side 
(as  charge). 


farm  stretching  up- 1 
\       ,        -,.       [oblique  charge  with      trunk 

Annbeiidinir  uv  ward,  or  one  up- 1 

&  {  reverse  oblique  >then<  .,'     >twisting     to 

"'•>«- >•>  ward,   the   other  I    •  .,          •  , 

charge  ,  ,  either  side. 

downward 


with 


(When  the  trunk  twisting  is  done  to  the  opposite  side  and  the  single 
arm  stretching  upward  is  on  the  same  side  as  the  charge,  a  head 
twisting  to  the  same  side  may  be  added.) 

Placing  hands  on  hips 

Arm  bending 

Placing  hands  on  neck 

Forward  bending  of  arms 

Arm  flinging  sideways 

Arm  bend  standing  arm 
stretching  sideways  or  up- 
ward 

Half  sideways  bending'  of 
arms 

Arm  flinging  forward-upward, 
or  sideways-upward 


{forward  1  charge,  then  for- 
toe- support  >  ward  bending  of 
reverse  )  trunk. 


(Arm  stretching  forward  (touching  the 
floor)  may  be  done  with  forward  bending  of 
trunk.  Usually  done  as  a  non-definite  move- 
ment.) 


178 


GYMNASTIC  TEACHING 


The   above   arm   movements,    with    side    charge,   then    side   bending   of 
trunk. 


Placing  hands 

on  hips 
Arm  bending 
Placing  hands 

on  neck 
Arm     flinging 

upward 


I  oblique  charge 
J  reverse  oblique 
withl      charge 

I  then  (or  with) 


trunk    twisting    to    same    side, 

followed  by  forward  bending 

of  trunk;  or 
trunk  twisting  to  opposite  side, 

followed  by  side  bending  of 

trunk. 


These  are  six-count  compound  movements  when  the  trunk  twisting 
follows  the  charge,  four-count  combined  compound  movements 
when  the  trunk  twisting  and  the  charge  occur  simultaneously.  The 
distinction  is  indicated  by  the  words  "then"  and  "with." 

In  this  last  group  arm  stretchings  may  also  follow  or  be  combined 
with  the  trunk  twisting,  or  be  combined  with  the  forward  bending 
and  side  bending  of  trunk.  Examples: 

.         ,        ,    ( oblique  charge  1  arm     stretching     side-1  (  forward 

in  r     ith    1  reverse  oblique  >     ways,      or      upward,  > then <  bending 

charge  J      with  trunk  twisting,  J  I  of  trunk. 


Arm  bend 
standing 

Arm  for- 
w  a  r  d 
bend 
standing 


oblique  charge 
reverse  oblique 
charge 


with  trunk  twisting  and 
simultaneous  arm 
stretching  (or  flinging) 
sideways  or  upward, 


followed    by 

forward 

bending  of 

trunk. 


Ann   bend-j°bli(luec^r*e   , 

ing  with     Averse  oblique- 

(     charge 


with  simultane- j  then  forward  bend- 
ous  trunk  I  ing  of  trunk  with 
twisting  to]  arm  stretching 
same  side,  forward. 

with  simultane- I  then  side  bending 
o  u  s  '  t  r  u  n  k  I  of  trunk  with  arm 
twisting  to]  stretching  s  i  d  e- 
opposite  side,  I  ways. 


Arm  bending  with  side  charge,  then  arm  stretching  sideways  with  side 
bending  of  trunk. 

Most  complex  movements  of  this  kind  would  be  extremely  difficult 
to  do  in  an  acceptable  manner  as  definite  exercises.  Some  of  them, 
however,  are  often  used,  without  too  much  attention  to  detail,  as 
composite,  non-definite  movements,  for  the  all-round  muscular  exer- 
cise they  represent. 


Toe  Jumps,  etc..  and  Frce-Standing  Ensemble  Jumps. 

Principles. 

Progression  is  mainly  by  types.  This  often  involves  increase  in  the 
number  and  difficulty  of  the  leg  movements  of  which  each  toe  jump  is 
made  up. 

Combining  with  arm  movements. 


PROGRESSION  OF  FREE-STANDING  EXERCISES          179 

Types  and  combinations. 

Toe  jumps. 

With  hands  on  hips   (.possibly  on  neck)  : 

Jumping  on  toes  (feet  together)   in  medium,  quick  and  slow  rhythm. 

Jumping  on  toes  with  foot  placing  sideways   (stride  jump). 

Jumping  on  toes  with  foot  placing  sideways  and  turning  45°  or  90° 
on  each  jump. 

Jumping  on  toes  with  foot  placing  forward-backward. 

Jumping  on  toes  with  alternate  foot  placing  forward-backward,  to- 
gether. 

Jumping  on  toes  with  foot  placing  sideways,  together,  then  forward- 
backward,  together  ("making  the  cross"). 

Jumping  on  toes  with  foot  placing  sideways  and  with  crossing  of  feet 
(on  return  jump). 

Jumping  on  toes  with  cross  oblique  foot  placing  forward-backward 
and  together. 

Jumping  on  toes  with  foot  placing  sideways  and  arm  flinging  sideways 
or  sideways-upward.  (When  this  is  done  with  hand  clapping  and 
striking  thighs  it  is  often  called  "Jumping  Jack.")  May  also  be 
done  with  45°  or  90°  turns. 

Arm  bend  standing  jumping  on  toes  with  foot  placing  sideways  and 
arm  stretching  sideways  or  upward. 

Jumping  on  toes  with  foot  placing  forward-backward  and  arm  flinging 
sideways-upward. 

Jumping  on  toes  with  foot  placing  sideways  and  arm  flinging  sideways 
or  sideways-upward  and  with  crossing  of  hands  or  feet,  or  hands  and 
feet,  on  return. 

Jumping  on  toes  with  crossing  of  feet  on  every  jump. 

Toe  jumping  forward  (feet  together)  advancing  by  an  indefinite  or 
specified  number  of  jumps. 

Toe  jumping  backward  (feet  together)  retreating  by  an  indefinite  or 
specified  number  of  jumps. 

Toe  jumping  forward  and  backward,  four  to  eight  jumps  each  way. 

Toe  jumping  sideways  (feet  together)  an  indefinite  or  specified  num- 
ber of  jumps  each  way. 

Toe  jumping  alternately   forward  and  backward    (feet  together). 

Toe  jumping  alternately  to  left  and  right   (feet  together). 

Hopping  on  left  and  right  foot  an  indefinite  or  specified  number  of 
times. 

Hopping  twice  alternately  on  left  and  right  foot. 

Hopping  eight  times  on  each  foot,  then  four  times,  then  twice,  then 
once  and  bring  up  free  foot.  (This  may  be  briefly  described  as 
"hopping  alternately  eight,  four,  two,  one.") 

Hopping  twice  on  each  foot  with  side-swing  of  other  leg. 

Cut-step  sideways. 

Cut-step  sideways  and  hop. 

Alternate  cut-step  backward-forward,  left  and  right   (rocking  step). 

Alternate  cut-step  backward- forward,  break  and  change  on  seventh  and 
eighth  counts  (by  foot  placing  sideways). 

Cut-step  forward. 

Cut-step  backward. 

Cut-step  backward  with  turn  and  "kick." 

Jumping  on  toes  with  foot  placing  sideways,  alternating  with  leg 
flinging  forward,  left  and  right,  and  alternate. 

Jumping  on  toes  with  foot  placing  sideways,  alternating  with  leg 
flinging  sideways,  left  and  right,  and  alternate. 


180  GYMNASTIC  TEACHING 

Jumping  on  toes  with  foot  placing  sideways,  alternating  with  knee 
upward  bending,  left  and  right,  and  alternate. 

Jumping  on  toes  with  alternate  foot  placing  forward-backward  and 
together,  alternating  with  alternate  leg  flinging  sideways. 

Jumping  on  toes  with  knee  upward  bending,  left  and  right  and  alter- 
nate. 

Jumping  on  toes  with  leg  flinging  forward,  left  and  right,  and  alter- 
nate. 

Jumping  on  toes  with  log  flinging  sideways,  left  and  right,  and  alter- 
nate. 

Cross-step  sideways,  in  front,  hop,  swing  and  change  (four  counts). 

Cross-step  sideways,  behind,  hop,  swing  and  change   (four  counts). 

Cross-step  sideways,  alternately  behind  and  in  front,  hop  and  "kick" 
(eight  counts). 

Leap  and  hop  (alternately  left  and  right,  in  oblique  directions). 

Leap  and  hop  with  arm  flinging  upward  on  same  side. 

Hop  sideways  with  leg  flinging  sideways  and  cross-step  behind,  indefi- 
nite or  specified  number  of  steps  each  way. 

Hop  and  cross-steps  sideways  (as  above)  with  arm  flinging  sideways 
and  crossing  of  hands.  Indefinite  number  of  repetitions  to  each 
side,  or  four  counts. 

Step  (obliquely  backward)  and  hop  with  arm  flinging  sideways  and 
raising  of  knee.  Alternately  left  and  right. 

Alternate  double  hop  (quick)  with  opposite  arm  flinging  forward  (in 
place,  or  advancing  and  retreating,  indefinite  or  specified  number  of 
steps) . 

Jump  twice  on  right  foot  with  arm  flinging  and  left  leg  flinging  side- 
ways, landing  with  hands  and  feet  crossed  and  knees  slightly  bent 
(two  counts)  ;  then  jump  with  arm  flinging  and  foot  placing  side- 
ways and  return  to  fundamental  position  (two  counts).  Repeat  with 
right  leg  flinging  on  first  count. 

Hopping  twice  alternately  on  left  and  right  with  arm  flinging  side- 
ways and  knee  upward  bending  on  first  hop,  on  second  swinging  the 
arms  down  while  raised  knee  is  held  in  position. 

Modified  "Hungarian  break." 

1.  Jump  to  position  with  hands  and  feet  crossed,  knees  moderately 
bent.  2.  Jump  to  wide  stride  standing  position  with  arms  obliquely 
overhead,  palms  up.  3.  Jump  to  fundamental  position.  4.  Hold 
fundamental  position  one  count. 

Combinations  or  sequences  of  two  or  more  of  the  preceding  (and 
similar  "steps")  will  suggest  themselves  to  anyone  wishing  to  carry 
the  progression  of  this  line  of  work  to  the  point  which  might  prop- 
erly be  called  gymnastic  dancing.  Any  of  the  "steps"  may  be  made 
the  "theme"  or  "motif,"  recurring  in  each  sequence. 

Free-standing  ensemble  jumps. 

Standing  jump  upward  with  arm  flinging  overhead.  1.  Rise  on  toes 
with  arms  forward.  2.  Swing  arms  quickly  down  and  overhead  with 
simultaneous  jump  upward,  landing  with  hands  at  sides  and  bend- 
ing knees  90°.  3.  Straighten  knees.  4.  Lower  heels  (3  and  4  may 
be  combined).  Turns  on  landing  may  be  added,  ranging  from  90° 
to  360°. 

Standing  jump  forward;  sideways;  backward.  Two  standing  broad 
jumps.  Done  as  upward  jump,  with  the  arm  movements  varied 
slightly. 

The    above    are    done   as    response   movements    on    (u.umeral)    s 
Mav  be  done  in  rhvthm. 


PROGRESSION  OF  APPARATUS  EXERCISES  181 

Running  jump  forward  with  two,  three  or  four  start  steps. 

Started  on  the  word  "Go !"     Landing  position  held. 
Running  jump  from  both  feet  with  two,  three  or  four  start  steps. 


7.     PROGRESSION  OF  APPARATUS  EXERCISKS. 

General  Considerations.  As  previously  suggested,  gymnastic 
apparatus  work  may  for  convenience  be  grouped  under  three  main 
heads :  Suspension  Exercises ;  Arm  Support  Exercises ;  Jumping 
and  Vaulting.  The  progression  of  these  is,  as  in  the  case  of  free- 
standing exercises,  partly  a  matter  of  definiteness  or  "good  form" 
— precision,  good  posture,  balance  and  proper  weight  distribution, 
vigor,  speed  and  animation.  In  apparatus  exercises,  also,  com- 
plexity and  severity  are,  perhaps  even  more  than  in  free-standing 
work,  determining  factors  in  progression.  In  apparatus  work 
complexity — and  hence  progression — cannot  so  readily  or  to  so 
great  an  extent  be  made  synthetic,  i.e.,  be  expressed  in  terms  of 
combination  and  alternation  of  simple,  definite  movements,  as  in 
the  case  of  free-standing  exercises.  It  is  rather  a  matter  of  careful 
selection  and  definition  of  types,  with  the  right  estimation  and 
proper  grading  of  these  types,  according  to  their  inherent  charac- 
ter, in  the  order  of  their  difficulty  or  severity  or  both.  Most  of 
these  types  are  relatively  complex  movements — composite, 
blended  and  not  capable  of  much  sub-division.  Hence  they  cannot 
always  be  arranged  in  a  way  to  satisfy  all  demands  of  a  logical 
progression.  There  are  often  "gaps"  which  cannot  be  satisfac- 
torily filled.  Types  or  combinations  which  might  serve  as  inter- 
mediate or  preparatory  steps  are  sometimes  wanting;  or,  if  de- 
vised and  defined  on  theoretical  grounds,  based  on  attempted 
analysis  or  sub-division,  may  be  more  difficult  in  some  respects 
than  the  exercises  for  which  they  are  intended  as  a  preparation. 
Thus  it  happens  in  some  cases  that,  while  there  is  a  great  abun- 
dance and  variety  of  material  suitable  for  more  or  less  advanced 
classes,  there  may  be  a  scarcity  of  simple,  easy  and  yet  interesting 
exercises  which  may  be  used  as  preparatory  work  in  classes  of 
less  ability  or  training.  The  reverse  may  be  true  in  other  cases. 
The  different  pieces  of  apparatus,  as  well  as  the  different  types 
of  exercises,  vary  in  this  respect.  Again,  many  exercises  may  be 
performed,  with  more  or  less  modification,  on  more  than  one 
apparatus.  As  has  already  been  pointed  out,  a  given  type  may  thus 
represent  varying  degrees  of  difficulty  when  done  on  different 
pieces  of  apparatus.  This  should  always  be  borne  in  mind  and 
taken  advantage  of  as  far  as  possible.  With  a  fairly  complete 
equipment  a  more  finely  graded  and  comprehensive  progression  is 
thus  possible  in  many  lines,  when  it  would  otherwise  have  to  be 
uneven  or  inadequate. 


182  GYMNASTIC  TEACHING 

Among  the  factors  which  should  be  considered  in  progression 
of  apparatus  work  are:  range  of  movement;  momentum  of  the 
body ;  variations  in  the  weight  distribution  on  arms  and  legs,  in 
the  leverage  of  the  weight  to  be  moved,  in  the  stability  of  the 
equilibrium.  Additions  to,  or  modifications  of,  exercises  with  a 
view  to  introduce  variations  of  these  conditions  are  therefore  im- 
portant elements  of  progression.  Thus,  for  example,  certain  types 
of  suspension  exercises  may  be  made  easier  or  more  difficult  ac- 
cording to  whether  they  are  done  with  or  without  swing  from 
waist  or  shoulders ;  wrhether  started  from  a  stationary  hanging 
position,  or  by  a  standing  or  running  jump  from  the  floor ;  whether 
behind  or  directly  under  the  apparatus.  Many  arm  support  exer- 
cises and  vaults  may  be  modified  in  similar  manner  with  a  view 
to  facilitate  their  execution  or  make  it  more  difficult.  Almost 
any  exercise  may  be  made  more  difficult  by  modifying  its  final 
phase,  the  dismount  or  landing,  by  introducing  turns,  or  by  adding 
arm  or  leg  movements. 

As  the  field  is  wide  and  the  possibilities  for  variations,  combina- 
tions and  modifications  are  practically  unlimited,  no  attempt  will 
be  made  to  illustrate  the  progression  of  gymnastic  apparatus  ex- 
ercises in  an  exhaustive  manner.  Only  comparatively  simple  and 
easy  types,  suitable  for  ordinary  class  purposes,  will  be  enumer- 
ated and  their  progression  indicated,  at  least  through  the  elemen- 
tary stages.  For  a  more  elaborate  treatment  of  this  topic  and  pro- 
gression of  advanced  types  of  exercises  the  reader  is  referred  to 
manuals  and  compendia  devoted  primarily  to  this  phase  of  the 
subject.* 

Sitspensiofi  ]:..\-crciscs. 
Principles. 

Increasing  the  amount  of  body  weight  carried  by  the  arms.  This 
applies  chiefly  to  preparatory  types,  such  as  the  heel-support  hang- 
ing and  toe-support  hanging  positions.  Also  to  various  forms  of 
climbing. 

Varying  the  work  on  arms  and  upper  trunk  muscles  by  doing  certain 
exercises,  such  as  hand  traveling,  without  or  with  swing;  with  bent 
instead  of  straight  arms. 

Increasing  difficulty  and  amount  of  muscular  work  by  variations  of 
grasp,  start,  range  and  sequence  of  movement,  and  landing. 

Combinations  and   sequences  of  increasingly  difficult  movements. 

Types. 

[Arm  bending  with  overhead  pulley  weights.] 

Grasp  arm  bend  toe  standing  arm  stretching  with  knee  bending. 
Heel-support   hanging  position.     Arm   bending,    leg   raising,  and   hand 
traveling  from  this  position. 


PROGRESSION  OF  APPARATUS  EXERCISES  183 

Toe-support  hanging  position.     Circumduction,  change  to  heel-support 

hanging,  and  arm  bending  from  this  position. 
Hanging  position.     Ordinary,  reverse  and  combined  grasp. 
Arm  bending,  alternate  arm  bending,  change  of  grasp,  knee  upward 

bending,   leg   raising,   lateral   swing   and   trunk   twisting,   all    starting 

from  the  hanging  position. 
Hand  traveling  of  various  kinds. 
Climbing  of  various  kinds. 
Swing  jumps  (short  underswing)  ;  starting  swing;  exercises  of  various 

kinds    while   continuing   swing,    such   as   hand   clapping,   change   of 

grasp,  turns  and  dismounts. 

Inverted  hanging  position  and  movements  from  this  position. 
Circles,  mounts,  upstarts,  and  uprise. 

Progression. 

Grasp  arm  bend  toe  standing  arm  stretching  with  knee  bending. 

The  apparatus  is  grasped  at  height  of  chin.  Progression  consists 
in  doing  the  movement  more  and  more  with  the  arms  and  less  with 
the  legs.  May  be  done  with  the  aid  of  rings,  vertical  ropes,  poles  and 
ladders,  horizontal  and  parallel  bars,  boom  and  high  bar  stalls.  When 
the  last  named  apparatus  is  used,  the  movement  is  best  done  while 
standing  on  one  foot. 

(Low  horizontal  bar  and  boom;  par- 
Heel-support  hanging  position  \  allel  bars;  rings;  vertical  ropes  and 

I      poles;  rope  ladders. 

The  body,  face  up,  is  partly  suspended  on  the  arms,  partly  supported 
on  the  heels.  The  lower  the  apparatus,  the  greater  is  the  proportion 
of  the  weight  suspended  on  the  arms. 

{Arm  bending. 
Alternate  lee  raising. 
Touching  floor  with  left  and  right  hand. 
Hand  traveling  sideways. 

Bent  arm  heel-support  hanging  hand  traveling  sideways  or  backward. 
Low  boom. 

Toe-support  hanging  position.  Apparatus  the  same  as  for  heel-support 
hanging  position.  The  body,  face  down,  is  partly  suspended  on  the 
arms,  partly  supported  on  the  toes.  The  lower  the  apparatus,  the  more 
powerful  is  the  exercise ;  also  the  greater  is  the  lumbar  hyperexten- 


Any  of  the  above 
mentioned  appar- 
atus. 


Toe-support  hanging  position  and  return  by  mov- 
ing one  foot  at  a  time;  by  moving  both  feet 
simultaneously 

Toe-support  (hanging  change  to  heel-support 
hanging  position  by  moving  both  feet  forward 
or  to  one  side  or  by  moving  each  foot  to  its  re- 
spective side. 

Toe-support  hanging  arm   bending — on  rings,  vertical   ropes,   or   rope 
ladders. 

Heel-support  hanging  f  Circumduction  left  and  right 

or  (The   feet   are    kept    on    the  \  rings. 

Toe-support  hanging    |          floor,  as  a  pivot.) 


184 


.GYMNASTIC  TEACHING 


Hanging  position.     Any  suspension  apparatus  sufficiently  high  above  floor. 
Mount  to  the  hanging  position ;  dismount  without  and  with  turns. 

Knee  upward  bending,  left  and  right,  alternate,  both. 
Knee  upward  bending  and  stretching  forward,  alternate, 

both. 

Leg  raising  forward,  left  and  right,  alternate,  both. 
Hanging^  Leg  raising  sideways,  left  and  right,  simultaneously,  both 

to  one  side. 

Side  swing  from  waist. 

Side  swing  from  shoulder  (with  alternate  arm  bending). 
Knee  upward  bending  with  alternate  twisting  (and  swing). 

Jump,    mount    to    bent    arm    hanging    position,    slow    arm    stretching, 
dismount. 

Hanging  position  with  reverse, 
combined  and  ordinary  grasp 

Hand  traveling. 

Sideways — with  straight  arms; 
with  and  without  swing;  with 
swing  and  alternate  arm 
bending;  with  bent  arms. 


Arm  bending,  alternate  arm  bending; 
changes  of  grasp  (preceded  by 
quick  arm  bending). 


High  boom,  suspended  parallel  bars, 
horizontal  ladder  (hands  on  out- 
side or  on  rungs),  horizontal  bar, 
bar  stalls. 


Forward  and  backward — with  straight 
arms;  with  and  without  swing;  with 
one  or  both  knees  drawn  up;  with 
alternate  knee  upward  bending; 
with  bent  arms. 

Forward  and  backward  on  rungs,  one 
rung  at  a  time,  or  skipping  one  rung 
or  more  at  each  step;  with  straight 
arms,  or  bent  arms. 

Rotary  traveling,  turning  alternately 
left  and  right,  forward  and  back- 
ward, with  straight  arms,  or  bent 
arms. 


Horizontal  ladder  (hands  out- 
side). 
Suspended  parallel  bars. 


••Horizontal  ladder. 


•  Boom  or  suspended  parallels. 


Rotarv  traveling,    turning  alternately  1  „ 

left 'and    right,    forward   and  bacl/.    Hor.zontal  ladder  (rungs) 

ward,  with  swing  and  alternate  arm    (VertlcalVoles  and  ropes j 
bending. 

Rotary  traveling,  turning  one  way,  hands  on  I  Boom;      rings;      sus- 
same  side;  with  straight  arms,  or  bent  arms.  /      pended  parallels. 

Short  jumps  forward,  backward  and  sideways.  I  Horizontal  ladder. 
Long,  swinging  jumps  forward  and  backward.  /  Suspended   parallels. 

Jumps  forward  and  backward  on  rungs;  from  )  ,, 

1  lonzontal  ladder, 
sides  of  ladder  to  rungs.  I 

Rotary  traveling  forward  and  backward  reach- 
ing or  jumping  from  one  bar  to  the  other  at  [Suspended  parallels, 
or  between  each  step. 


PROGRESSION  OF  APPARATUS  EXERCISES  185 

Climbing. 

Using  arms  and  legs  ;  f  Bar  stalls;  rope  ladders;  vertical  ropes  (one  or 
Using  arms  only.        \      two  or  across  several);  poles;  inclined  ropes. 

(Oblique  (zigzag),  vertical,]  Long  (tall)  and  wide 
horizontal,  turning  al-  >  window  ladders; 
ternately  left  and  right.]  double  boom. 

Swing  jump   (short  underswing). 

Running  start,  from  one  foot  or]  TT.   ,          -,   ,         , 

both   feet;   without   and    with  [Hl«  h  and  low  horizontal  bar   and 
turns  on  landing.  J      boom;  ropes  (two  or  one);  rings. 

Standing  start,  from  one  foot  or  [High  and  low  horizontal  bar. 
both  feet,    without    and    with  J  Hl£h  boom. 

turns  Horizontal  ladder;  suspended  par- 

allels. 

Start  from  the  hanging  I  High  horizontal  bar  and  boom. 

position.  "I  Suspended  parallels;  horizontal  ladder. 

.  r          .,      r  -.-  (     High  and  low  horizontal  bar. 

Start  from  the  front  rest  position,     i          Hi    h  boo 


Start  from  the  back  rest,  or  sitting  position,  by  turn-]  TT-   v.       j 
ing  left  and  right  or  by  dropping  backward,  bending  I      £     .n 
at  hips  and  passing  fe 
same  from  riding  rest. 


.  , 

at  hips  and  passing  feet  between  hands  under  bar;  J      r1i/ 


Swing  jump,  catch  and  dismount;  "I  Horizontal  ladder. 
Long  swinging  jumps.  /  Suspended  parallels. 

Starting  swing,  dismounting  on  first  backward,  next  forward  or  any  suc- 
ceeding swing,  without  or  with  turns  on  landing. 

[High     horizontal     bar     and 

Running  start  from  (one  or)  both  feet.-]      boom;    ropes;    rings;    rope 

ladders;  giant  stride. 

Standing  start,  from  both  /  High  horizontal  bar  and  boom. 

feet.  1  Horizontal  ladder;  suspended  parallels. 

r  •..•       (High  horizontal  bar  and  boom. 

Start    from    the    hanging    position    0  j    i  n   ,       r.     •        ,    , 

.  .    &  f^  ^Suspended  parallels;   horizontal 

by  arm  bending,  raising  feet,  etc.  |      ,     ]cier 

Start  from  front  rest  position  by  long] 
or  short  underswing,  or  by  forward  iHigh  horizontal  bar  and  boom. 

circle. 

Start  from  back  rest  and  riding  rest. 

(As   described   above  under  swing  }•  High  horizontal  bar. 
jump.) 


186 


GYMNASTIC  TEACHING 


Swinging  exercises. 

Hand  clapping,  change  of  grasp,  turns;  at  the] 

end  of  backward  or  forward  swing.  !„.    ,  ,      . 

Raise  feet  at  end  of  forward,  straighten  at  end  [  Hl^h  horizontal  bar. 

of  backward  swing. 


Jump  forward  and  backward  at  end  of  respective  swings. 
Mount  to  upper  arm  hanging  position  at  end  of  backward 
swing. 

Turns,  cut-offs,  swinging  in  the  inverted  position, 
circles,  up-starts,  etc. 

Miscellaneous  exercises,  without  and  with  swing. 


Suspended 

parallel 

bars. 


I  Rings. 


Inverted  hanging  position, 
dismount  by  half  circle 
forward  or  backward; 
pull  up  over  bar  to  back 
rest. 


High  horizontal  bar  and  boom;  horizontal 
ladder  and  suspended  parallels  (ends), 
rings,  ropes  (one  or  two);  poles,  rope 
ladders. 


Backward  circle  to  front  rest,  starting  with 
a  jump  from  behind  or  under  the  bar,  or 
from  the  hanging  position.  Return  by 
forward  circle,  short  underswing,  side 
vault,  etc. 

Free  backward  circle,  starting  from  and  return- 
ing to  the  standing  position,  or  the  front  rest , 
position. 

Quick  backward  circle,  from  standing  position  to  floor  (pass- 
ing legs  between  or  outside  arms);  to  arm  support  position. 
Cut-offs.     Upstart  to  arm  support  position.     Combinations. 


High  horizontal  bar  and 
boom. 


High  horizontal  bar. 


Rings 


Quick  backward  circle,  starting  from  and  returning  to  \ 
standing  position.  ( 

Mounts  to  front,  back  and  riding  rest  positions  by  hook- 
ing one  knee  or  both,  inside  or  outside  of  hands;  by  cir- 
cles; by  front  and  back  upstarts,  uprise,  swings;  by 
pull-and-push  up;  from  standing,  hanging  or  swinging 
start;  with  ordinary,  reverse  or  combined  grasp;  with- 
out and  with  turns; 

Followed  by  forward  and  backward  body,  knee  and  seat 
circles;  vaults,  turns  and  swings. 

Various  combinations  and  sequences  of  any  of  these,  fin- 
ished by  direct  forward  or  backward  dismounts;  by 
vaults,  short  underswing,  knee  and  hock  circles,  with- 
out and  with  turns;  by  snap-off  and  somersaults,  or 
long  underswing  and  somersaults. 


Ropes,  poles. 


High 

•horizontal 
bar. 


Arm  Support  llxcrciscs." 

Types. 

Front  leaning  rest  (prone  falling  position). 
Side  leaning  rest   (side  falling  position). 


PROGRESSION  OF  APPARATUS  EXERCISES 


187 


Front  rest.     Oblique  front  rest. 
"Free"  front  rest.     Hand  stand.     Hand  spring. 
Back  rest.    Oblique  back  rest. 
Cross  rest.     Riding  rest. 

Leg  circles  through  "free"  front  rest  and  "free"  riding  rest. 
Swings  and  leg  circles  through  cross  rest. 

Mounts,  upstarts  and  miscellaneous  exercises,  starting  from  or  passing 
through  any  of  these  positions. 

Front  leaning  rest   (prone  falling  position). 

From  running  or  standing  start,  as  a  supple-  1  H  vaulting  box 

mentary  exercise  for  face  vault.  /  W 

Preceded  by  a  forward  and  backward  swing.     Parallel  bars. 

Side  leaning  rest  (side  falling  position). 

From  running  or  standing  start,  as  a  prepara-1  Horse;  vaulting  box; 
tory  or  supplementary  exercise  for  side  I  low  horizontal  bar 
vault.  Sustained  or  momentary.  and  boom. 

Front  rest  (balance  weighing)  position. 

From  running  or  standing  start;]  Horse  (with  and  without  pom- 
preceded  by  swing  (parallel  I  mels);  buck.  Low  and  high 
bars).  Dismount  without  and  [  horizontal  bar  and  boom.  Par- 
with  turns.  allel  bars,  hands  on  either  bar. 

Oblique  front  rest  position. 

Sustained  or  momentary.     One  hand  on  each  bar. 
Preceded  by  forward  and  backward  swing,  or  by  di- 
rect mount. 
Dismount  to  either  side,  without  and  with  turns. 


Parallel  bars. 


'Free"  front  rest  (momentary  horizontal  position,  supported  on  arms). 


From  running  or  standing  start,  from  front 
rest;  or  from  swing  (parallel  bars).  With  leg 
flinging  left  and  right  or  with  leg  parting. 
Finishing  without  and  with  turns;  or  by  face 
vault  dismount.  Continuing  to  hand  stand, 
high  face  vault,  or  hand  spring. 


Back  rest  position. 

From  standing  start,  facing  or  side  to  ap- 
paratus; or  preceded  by  swing,  leg  cir- 
cles, inverted  hanging  position,  or  by 
back  upstart.  Dismount  forward  with- 
out or  with  turns;  backward  by  circle  or 
roll,  or  by  dropping  back,  passing  feet 
between  hands  and  finishing  with  short 
underswing'. 


Saddle  boom;  horse, 
buck,  box;  low  (or 
high)  horizontal  bar 
or  boom;  parallel 
bars. 


Horse  (buck,  box);  hori- 
zontal bar  and  boom; 
parallel  bars. 


Oblique  back  rest  position.     Parallel  bars ;  long  horse. 

Reached  from  forward  swing  between  bars,  then  passing  legs  outside 
one  bar  until  stopped  by  hand  on  that  side ;  or  by  direct  mount. 
Used  as  an  intermediate  sustained  or  transitory  position.  May  be 
followed  by  back  vault  dismount  to  either  side,  by  turn  to  front  rest, 
by  additional  swings,  etc. 


188  GYMNASTIC  TEACHING 

Cross  rest  position.     Parallel  bars. 

Reached  by  direct  mount,  from  ends  of  or  between  bars;  from  ends 

of   bars  or  mid-bars   by  underswing  and   upstart,   or   by   cut-offs; 

from  upper  arm  hang  or  swing,  by  upstart  or  uprise,  etc. 
Is   a   starting  or   transitory  intermediate   position   in  the  majority   of 

swings,    turns,    circles,    scissors,    vaults,    rolls,    drops,    upstarts,    etc., 

on  the  parallel  bars. 

Riding  rest  position. 

(a)  Cross  riding  rest — facing  end  of  apparatus.]  Parallel   bars;    horse, 

(b)  Side  riding  rest — facing  at  right  angles  to  1     buck;  horizontal 
apparatus.  bar. 

Weight  supported  partly  by  arms,  hands  in   front  or  behind  in  cross 

riding  rest,  at  sides  in  side  riding  rest. 
Used  as  a  starting  or  transitory  intermediate  position  in  swings,  knee 

circles,  leg  circles,  vaults,  etc.,  on  the  above  mentioned  apparatus. 

Jumping  and  Vaulting. 

A.  Jumping. 

Under  this  head  would  come : 

(1.  Free-standing  (ensemble)  jump  upward,  forward,  sideways  and  back- 
ward without  and  with  turns,  arm  and  leg  flinging,  rebound,  one  or  more 
start  steps.) 

2.  Jumping  down — from  benches,  bar  stalls,  vaulting  apparatus. 

3.  Hop,  step  and  jump,  each   element  practiced   separately,   or  two  of 
each,  or  any  combination  and  sequence  of  any  two  or  all  three  elements. 
For  this  no  other  apparatus  than  a  mat  or  two  is  needed. 

4.  Standing  broad  jump — single,  or  two  or  more. 

5.  Running  hop,   step   and   jump,   and    running   broad   jump — not   very 
suitable  for  indoor  practice  unless  thick  and  springy  mattresses  are  avail- 
able. 

6.  Running  high  jump. 

(a)  Gymnastic — for  form  and  landing;   from  either   foot  or  both 
feet;  with  turns  either  way;  without  and  with  spring  board. 

(b)  The  various  styles  of  competitive  jump — for  height. 

7.  Hurdling — the  elements  of  approach  and  form. 

8.  Standing  high  jump — front  and  side  jump. 

The  progression  is  partly  from  the  easier  to  the  more  difficult  types; 
partly  in  improvement  of  form ;  partly  in  increasing  distance  or  height. 

Tumblinfi — at  least  elementary  types  such  as  forward  and  backward  rolls, 
hand-and-head  spring,  hand  spring,  cart  wheel,  dive,  etc. 

B.  /  'aultiny. 
Principles. 

Progression  from  the  easier  to  the  more  difficult  types;  also  by  doing 
the  same  type  on  different  apparatus. 

Adding  turns,  arm  movements  and  leg  movements. 

Combinations  and  alternations  with  suspension  and  arm  support  exer- 
cises. 

Types.     I.  Vertical  Vaults      II.  Horizontal  Vaults. 

I.  Mounts  :  to  kneeling  position  on  one  knee  or  both  ;  to.  standing  posi- 
tion on  one  foot  or  both;  to  (cross)  riding  position;  squat  mount, 
straddle  mount;  rear  squat,  straddle  and  riding  mounts. 


PROGRESSION  OF  APPARATUS  EXERCISES 


189 


Dismounts :   directly   forward,  backward   or   sideways ;    face,    side,   or 

back  (vault)  dismounts. 
Complete  vaults:  knee  vault;  squat  vault;  straddle  vault;  half  knee 

half   straddle  vault;   half   squat  half   straddle    (wolf)    vault;   jump 

(thief)  vault;  front   (sheep)  vault;  side  straddle  vault;  rear  squat 

and  rear  straddle  vault ;  cross  legged  vault. 
II.     Preparatory  exercises :   free  front  rest  with  leg  flinging  left  and 

right ;  mount  to  kneeling  or  stooping  position :   face  or  side  vault 

dismount  by  springing  from  one  foot;  mount  to  front  leaning  rest,  to 

side  leaning  rest,  to  oblique  front  and  back  rest. 
Dismounts — as  above. 
Complete  vaults:   face   (front)   vault;  side   (flank)   vault;  back  vault, 

oblique  back  vault. 


Progression. 

I.     Vertical  vaults  and  mounts.* 

Mount  to  kneeling  position,  on  one  knee  or  both.  Run- 
ning or  standing  start.  When  on  one  knee  the  free 
leg  is  behind  and  kept  straight. 

Dismount  backward,  using  the  hands,  or  forward  with- 
out using  the  hands. 

Or  the  mount  may  be  followed  by  stepping  (one  foot  at 
a  time)  or  springing  (both  feet  simultaneously)  to 
standing  position,  then  dismount,  as  below. 


Horse, buck, 
vaulting 
box. 


Dismount  forward,  backward,  or  sideways,  ordinary  or  rising,  spring- 
ing from  one  foot  or  both,  without  and  with  turns — 90°  to  360°— 
arm  and  leg  flinging  sideways,  hand  clapping,  touching  toes,  etc. 

Squat  mount. 

Running  or  standing  start.  "I  Saddle  boom;  side  horse  with 

Knees  between  arms.     Straighten  to  I      and  without  pommels;  box; 
fundamental  standing  position.         f     buck;    low    horizontal   bar 
Dismount  as  previously  described.  and  boom. 

Straddle  mount. 
Legs  outside  of  arms,  knees  straight.  1  Sacld  e  boom;  side  horse  with 

Dismount  as  previously  described  *nd  wltth°u,fc  P°m™^>  box! 

horizontal  bar  and  boom. 


Half  squat  half  straddle  mount. 
One  leg  (with  knee  drawn   up  in  front) 
between  the  arms,  the  other  (straight) 
raised  sideways.     Rising  dismount. 


•  Buck;  saddle  boom;  side 

and    long    horse;  low 

horizontal      bar  and 
boom. 


Mount  to  cross  riding  position. 

On  inside  of  thighs.     All  joints  extended. 

Hands  preferably  behind  thighs  touching  ap- 
paratus lightly  or  not  at  all. 

Dismount  forward,  backward,  or  sideways 
(by  half  circle  of  one  leg);  or  by  face  vault 
or  back  vault  dismount. 


Long  horse  and  buck; 
parallel  bars. 


*In  vertical  mounts  and  vaults  the  hands  should  remain  on  the  apparatus  only  a 
brief  instant.  The  arm  movement  should  be,  like  the  leg  movement,  a  quick  spring. 
Except  in  the  case  of  the  low  horizontal  bar  and  boom  a  running-  start  is  preferable  to  a 
standing  start. 


190 


GYMNASTIC  TEACHING 


Rear  squat,  straddle  and  riding  mounts. 
Like   corresponding  front  mounts,  but     . 

preceded  by  180°  turn   left  or  r  ght.    APPara,tus    fs    '* 
This  occurs  after  the  spring.  Deling  f™»t 


mounts. 


Knee  vault. 

Momentary  support  on  lower  legs,  followed  by  spring. 
Knees  should  project  in  front  of  apparatus.  Land- 
ing without  and  with  90°  turn. 


Horse;  buck; 
vaulting 
box. 


Squat  vault. 

Knees  pass  between  arms  and  are  extended  as 

soon  as  apparatus  is  cleared.     Trunk  erect. 

Spring   from    hands.     Try  for  height.     Land 

facing  forward,  or  with  right  and  left  turns 

(90°  to  360°). 


Saddle  boom;  side 
horse;  box;  buck; 
low  bar  and  boom; 
long  horse. 


Straddle  vault. 

Legs  pass  outside  of  arms,  knees  straight,  1  Buck,  saddle  boom;  side 
body  erect.  Spring  from  hands.  Try  I  horse;  low  bar  and 
for  height  and  distance.  Landing  with- 1  boom;  long  horse 
out  and  with  turns  (90°  to  360°).  (hands  on  near  end). 

One  hand  straddle  vault. 

As  straddle  vault,  but  using  only  one  hand. 

Half  knee  half  straddle  vault. 

Momentary  support  on  and  spring  from  one  lower]  Ruck;  ends  of 
leg.  Knee  should  project  well  beyond  apparatus.  1  horse  and 
Free  leg  raised  sideways.  box. 

Half  squat  half  straddle  vault  (wolf  vault). 
One  leg,  with  knee  drawn  up  in  front,  passes 
between  arms,  the  other  leg  is  raised  side- 
ways. Trunk  erect.  Spring  from  both 
hands  simultaneously.  Try  for  height  and 
distance.  Turns. 


Saddle  boom;  horse; 
buck;  box;  low 
horizontal  bar  and 
boom. 


Jump  vault    (thief  vault). 

The  spring  is  from  one  foot,  as  in  a  jump. 
Feet  pass  over  apparatus  first.     Hands  give 
support  on  the  descent.     Without  and  with 
turns. 

Front  vault   (sheep  vault). 

The  apparatus  is  cleared  with  the  body  as 
nearly  as  possible  in  the  fundamental  posi- 
tion, but  slightly  arched,  chest  leading. 
The  knees  may  have  to  be  flexed  more  or 
less. 


Saddle  boom;  horse; 
buck;  vaulting 
box. 


vSaddle  boom,  horse; 
buck;  vaulting 
box. 


Side  straddle  vault. 
The  apparatus  is  cleared,  in  what  might  be  called  a  "free") 

side  riding  position — one  side  leading.  The  90° -turn  is  I  Long 
made  after  the  spring.  Used  as  a  preparation  for  the  rear  [buck, 
straddle  and  cross-legged  vaults. 


PROGRESSION  OF  APPARATUS  EXERCISES 


191 


Rear  (or  backward)  squat  vault.     Rear  (backward)  straddle  vault. 
As  corresponding   front  (or  forward)   vaults, }  c    ,  ,,    , 

h,it  «rith«    180= '  tnrr,  «ft»r  tli«anrii,«    c^h^  I  Saddle  boom;  horse; 

buck;     box;      low 
bar  and  boom. 


but  with  a  180°  turn  after  the  spring,  so  that  i 

the  apparatus  is  passed  while  the  body  is  I 

j 


moving  backward. 


Cross-legged  vault. 

Like  straddle  vault,  but  with  legs  crossed.     The] 
hips  are  also  turned  considerably,  but  the  shoul- 1  Buck;    possibly 
ders  remain  square  to  the  front.     Considerable  I      long  horse, 
height  is  necessary. 


II.     Horizontal  mounts  and  vaults. 

Free  front  rest. 

Without  and  with  leg  flinging  sideways,  landing  without  and  with 
turns. 

Mounts  to  front  leaning  and  side  leaning  rests. 
Like  face  and  side  vaults.     Position  momentary] 

(or  sustained)  spring  from  one  foot  in  dismount.  I  Box;  horse;  par- 
Dismounts — face  and  side  vault  dismounts,  with-  j      allel  bars. 

out  and  with  90°  to  180°  turns. 


Face  (front)  vault. 

Body  facing  the  apparatus  at  the  moment  of 
passing  it.  Feet  are  carried  at  least  as 
high  as  the  head.  Weight  of  body  should 
be  well  forward,  arms  straight.  Landing 
without  and  with  turns  either  way. 


Horse;  vaulting  box; 
buck;  saddle  boom; 
low  horizontal  bar; 
parallel  bars. 


NOTE/ — When  the  feet  are  carried  lower  than  the  head,  the  vault  may 
be  called  low  face  vault ;  when  considerably  higher,  approaching  a 
handstand,  it  might  be  called  high  face  vault.  The  former  is  done 
over  the  buck  and  ends  of  the  horse,  as  a  preparatory  exercise. 
The  latter  as  an  advanced  form. 


Side   (flank)   vault. 

The  side  of  the  body  is  turned  toward  the  ap- 
paratus. Feet  are  carried  at  least  as  high 
as  the  head.  Supporting  arm  straight  and 
inclined,  so  that  the  hand  is  opposite  the 
waist.  Landing  without  and  with  turns 
either  way. 


Saddle  boom;  horse; 
box;  buck;  low 
bar  and  boom; 
double  boom;  par- 
allel bars. 


Variations :  Low  side  vault.     One  hand  side  vault. 


Back  vault. 

The  back  of  the  body,  flexed  more  or  less 
at  the  hips,  is  turned  toward  the  appara- 
tus. After  the  spring  one  hand  is  lifted 
to  let  the  body  pass.  It  is  then  replaced 
and  receives  the  whole  weight.  Land- 
ing without  and  with  90°  to  180°  turn  to- 
ward apparatus. 


Parallel  bars;  side  and 
long  horse;  box; 
buck;  low  horizontal 
bar  and  boom;  saddle 
boom;  double  boom. 


192  GYMNASTIC  TEACHING 

Oblique  vault. 

This   is   essentially   a   back   vault,   resembling   in   some    respects   the 
jump  vault. 


The  approach  is  oblique;  the  spring  is  from  the  out- 
side foot;  only  the  near  hand  is  placed  on  the  ap- 
paratus at  the  take-off,  but  its  place  is  taken  by  the 
other  hand  when  the  body  is  passing  the  apparatus. 
Landing  without  and  with  quarter  or  half  turn  to- 
ward apparatus. 


Long  horse; 
long  box; 
long  buck; 
low  bar; 
double 
boom. 


Variations.  One  hand  oblique  vault,  with  outside  turn  (away  from 
apparatus).  The  back  vault  with  outside  turn  on  the  parallel  bars 
is  of  similar  character. 

On  the  double  boom  the  oblique  vault  may  be  done  by  a  spring  from 
both  feet,  or  from  the  outside  foot  only.  The  outside  hand  grasps 
the  upper  boom.  Only  the  outside  turn  is  here  feasible. 

Screw  vault. 

This  is  a  term  sometimes  used  to  designate  either  face  vault  with 
half  (180°)  turn  away  from  the  apparatus,  or  a  back  (or  oblique) 
vault  with  half  turn  toward  the  apparatus.  In  the  latter  case  the 
body  must  be  straightened  from  the  previously  flexed  position  at 
the  hips. 

High  face  vault  on  the  double  boom. 

This  consists  of  a  step-up  or  direct  mount  to  a  momentary  front  rest 
on  the  upper  boom,  flexion  at  the  hips  with  release  of  one  hand, 
which  reaches  down  and  grasps  the  lower  boom,  the  body  in  the 
meanwhile  turning  slightly  toward  the  side  of  the  upper  hand. 
Then  follow  immediately  extension  at  the  hips  with  arching  of 
the  back  and  what  might  be  called  a  high  face  vault  dismount,  the 
hand  on  the  lower  boom  being  released  with  a  push  and  the  hand 
on  the  upper  boom  being  shifted,  at  the  last  moment,  to  the  lower 
boom. 

Handstand  :  face,  squat  and  straddle  vault  dismounts. 

The  position  may  be  held  a  varying  length  of  time,  or  the  movement 
may  progress  evenly  throughout.  In  the  latter  case  it  is  a  vault 
in  the  true  sense  and  might  be  named  handstand  (or  balance) 
face,  squat  or  straddle  vault. 

Hand  spring. 

Position  may  be  held,  or  the  movement,  quick  or  slow,  progress 
evenlv. 


C.     Sii'/Hr/  Jumps. 


Already  described  under  Suspension  Exercises.  When  used  to  repre- 
sent the  jumping  and  vaulting  class  of  exercises,  the  swing  jumps  should 
be  started  with  a  run.  The  spring  may  be  from  one  foot  or  both,  the 
approach  perpendicular  or  diagonal.  When  clearing  a  height,  e.g.,  the 
lower  boom,  or  the  rope  or  bar  on  the  jumping  standards  placed  directly 
below,  or  below  and  in  front  of,  the  high  bar  or  boom,  the  approach  may 
also  be  diagonal  or  at  right  angles  to  the  apparatus.  In  the  latter  case, 
the  legs  may  be  raised  either  directly  sideways,  or  forward,  or  sideways- 
forward,  with  a  twist  of  the  hips  and  turn  of  the  body.  The  swing  jumps 
may  thus  be  made  to  resemble  a  side  vault,  a  back  vault,  a  jump  vault  or  an 
oblique  vault. 


PROGRESSION  OF  GYMNASTIC  LESSONS  193 

When  the  swing  jump  is  done  with  one  vertical  rope  (or  one  rope 
ladder),  the  legs  may  be  raised  and  the  body  then  suddenly  straightened 
with  a  180°  turn  toward  the  side  of  the  lower  hand.  The  movement  thus 
closely  resembles  the  pole  vault. 


8.     PROGRESSION  OF  GYMNASTIC  LESSONS. 

The  following  gymnastic  lessons  may  serve  to  illustrate  the 
general  application  of  principles  of  selection  and  progression  of 
gymnastic  exercises — chiefly  free-standing — in  the  adaptation  of 
the  work  to  high  school  and  college  conditions. 

A  reasonably  well-equipped  gymnasium  and  from  thirty-five 
to  forty  minutes  actual  working  time  will  be  assumed.  Also,  in 
the  case  of  high  school  students,  previous  training  in  the  "definite" 
style  of  work.  In  the  case  of  college  students  such  previous  train- 
ing cannot,  as  a  rule,  be  counted  on  and  hence  will  not  be  assumed. 
The  lessons  for  college  students,  therefore,  contain  a  number  of 
exercises  of  a  more  or  less  non-definite  character,  representing 
lively  action  and  abundant  general  muscular  exercise.  By  de- 
grees, exercises  of  a  more  definite  character  are  -substituted,  or 
the  types  given  at  first  are  redefined,  as  far  as  possible,  so  as  to 
call  for  more  exactness  of  detail,  holding  of  positions,  etc. 

Each  lesson  may  be  given  two,  three  or  four  times.  The  first 
three  or  four,  however,  should  not  be  repeated  more  than  once. 
This  much  will  probably  be  necessary  in  order  to  cover  all  pre- 
liminaries in  a  thorough  manner.  The  change  from  one  lesson  to 
the  next  may  be  complete,  or  more  or  less  gradual  (by  substitution 
of  some  exercises).  The  former  is  preferable.  In  that  case  it  may 
not  be  possible  to  give  all  the  exercises  the  first  time.  Each  time 
a  lesson  is  repeated  the  exercises  are  done  less  on  signal  and  with 
more  rhythmic  repetition.  (This  is  indicated  by  the  word  "later." 
Immediate  rhythmic  execution  is  indicated  by  "Rhythmic"  in 
parenthesis.) 


Series  I. 
Junior  High  School,  Girls  and  Boys.    First  Year. 

Lesson  i. 

Alignment  on  one  rank  (or  two  if  class  is  large).  Line  marching, 
emphasizing  snappy  rhythm,  light  step,  toes  straight  ahead  and 
striking  first.  Practice  halts,  retarding  second  count.  Also 
change  of  step.  Informal  about  facing.  Open  order  by  having 
front  rank  take  two  steps  forward,  rear  rank  two  steps  back- 
ward; then  numbers  one  (in  both  ranks)  one  step  forward, 
numbers  two  one  step  backward.  Each  part  on  separate  signal. 


194  C.YMNASTIC  TEACHING 

II.     1.    Arm  bending  with  heel  raising.     (Rhythmic  at  once.) 

2.  Arm  flinging  sideways,  palms  up,  with  backward  moving  of  head. 

(Rhythmic.) 

3.  Hip  grasp   standing  stooping    (deep  knee   bending,   body   inclined 

forward,  back  straight,  hands  touching  floor  between  feet)  and 
return  (to  starting  position),  alternating  with  arm  stretching 
downward.  (Each  part  on  signal  once,  then  in  fairly  quick 
rhythm.) 

4.  Arm  bending  and  stretching  sideways.      (Even  rhythm.) 

5.  Review   facings  left  and   right  on  two  counts,   stopping  on   first. 

(Later  in  slow  rhythm.) 

6.  "Cutting  down  tree."      (Witli    feet   wide  apart,    (1)    swing  arms 

behind  right  shoulder,  at  the  same  time  bending  right  knee  and 
leaning  well  over  to  right.  (2)  Then  swing  arms  obliquely 
downward,  toward  left  foot,  bending  left  knee.  Toward  the 
end  the  stroke  is  curved  between  feet  to  use  up  momentum. 
After  several  repetitions  on  right  side  change  to  left.  Later 
alternate,  calling  the  exercise  "chopping  a  log.") 

7.  Hip  grasp  standing  jumping  on  toes,  first  without,  then  with,  foot 

placing  sideways   (stride  jump). 

8.  Turning  of  hands  with  backward  moving  of  head  and  deep  breath- 

ing. 

III.  Organize  class   in   squads   for  competitive  squad  activities,   including 

elementary  apparatus  work,  preferably  such  as  can  be  measured 
and  given  points.  See  suggestions  on  page  130. 

IV.  Short  run;  breathing  exercise. 


Lesson  2. 

I.  Line  marching.  Halts.  About  facing  (army  style)  on  two  counts, 
stopping  on  first.  Try  "to  the  rear  march"  as  a  three-count 
movement,  stopping  on  first  count  (with  shortened  step,  feet 
slightly  crossed,  weight  on  right).  Finish  the  other  two  counts  on 
signal  "T-u'o!"  or  "Noiv!"  (Class  responds  by  counting  "two, 
three,"  turning  sharply  on  toes  and  stepping  out  with  accent 
on  three.)  Open  order  as  before,  each  part  on  separate  signal. 
II.  1.  Stride  standing  (quick)  knee  bending  with  (placing  of)  hands 
on  hips.  (In  rhythm  at  once.) 

2.  Arm  bead  standing  slow  arm  stretching  sideways  with  backward 

moving  of  head  and  chest  expansion.     (Response  movement.) 

3.  "Furling  sail."     (With  feet  apart,  bend  down  and  touch  floor  with 

left  hand,  straighten  up  and  bring  left  hand  to  the  hip,  holding 
it  there  while  movement  is  repeated  with  right  hand.  Then 
alternate.  Rhythm  slightly  uneven.) 

4.  Hip  grasp   standing  knee  upward   bending  left   and   right.      First 

time  stop  at  the  change.     Later  change  without  stopping. 

5.  Arm   bending  and   stretching  upward.      (Even   rhythm.) 

6.  Hip  grasp   stride   standing    (rhythmic)    side  bending  all    the   wv/ 

from  one  side  in  the  other  in  one  movement. 

7.  Standing  jump  upward.     (Response  movement  on  four  counts.) 

8.  Crouching    start    and    running    in    place,    halting    on    two    counts. 

Later  change  from  double  to  quick  time  on  four  counts. 

9.  Arm   raising   sideways   with   breathing. 

III.  Competitive  activities  and  apparatus  work.  (Here  the  work  for  girls 
and  boys  will  be  different.  Hoys  should  have  more  suspension 
work,  or  at  least  more  work  requiring  lifting  or  holding  the 


PROGRESSION  OF  GYMNASTIC  LESSOXS  195 

body  weight  on  bent  arms.     Also  standard  indoor  athletics  and 
elementary  tumbling.     Girls  may  have  parts  of  or  whole  folk 
dances.     Also  more  exercises  representing  balance  and  supple- 
ness.) 
IV.     Run  ;  breathing  exercise. 

Lesson  ?. 

I.  Line  marching.  "To  the  rear  march,"  stopping  on  first  count.  Try 
complete,  as  a  sharp,  clean-cut,  three-count  movement.  Open 
order  on  one  signal,  "Open  order — march!" 

II.  1.  Arm  flinging  forward  with  knee  bending  (heels  off).  (Moderate 
rhythm.) 

2.  Head  grasp  standing  "stretching."      (Imitation  first  time,  then  re- 

sponse movement  two  or  three  times  on  "One!"  (quick)  "Two!" 
(slow)  "Three!"  (slow).) 

3.  "Rowing."     (With  arms  bent  and  left  foot  advanced,    (1)    reach 

forward-downward,  bending  the  forward  knee  at  the  same  time ; 
(2)  bend  arms  and  straighten  up,  shifting  the  weight  to  the 
rear  leg  and  bending  that  knee.  After  eight  to  twelve  move- 
ments stop,  change  feet  with  a  jump  and  repeat.) 

4.  Arm  bend  stride  standing  quick  trunk  twisting  all  the  way  from 

one  side  to  the  other.     (Slow  rhythm.) 

5.  Hip  grasp   standing  position  on  one   foot,  the  other   knee   raised : 

change  feet  with  jump.  (Quick  response  movements  on  "One! 
Two!") 

6.  Arm   bending   and    stretching   sideways   and    downward.      (Even 

rhythm.) 

7.  Standing  jump  forward.     (Response  movement  on  four  counts.) 

8.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  forward- 

backward.     (Weight  equally  on  both  feet.) 

9.  Backward  moving  of  head  with  deep  breathing. 

III.  Competitive  squad  activities,  including  apparatus  work. 

IV.  Run  ;  toe  march  ;  breathing  exercise. 

Lesson  4. 

I.     Line   marching.     Review   "to  the   rear  march."      Begin   "by   the  left 

(right)   flank  march."     At  first  in  very  slow  rhythm. 

II.  1.  "Hoisting  sail."  (With  left  hand  overhead,  right  in  front  of 
chest  and  feet  apart,  (1)  quick  knee  bending  with  downward 
movement  of  hands;  (2)  straighten  knees  and  change  position 
of  hands.) 

2.  Forward  bending  of  arms,  then  sideways  flinging  and  slow  sink- 

ing, with  backward  moving  of  head.  Response  movement  once 
(or  twice),  then  repeated  in  uneven  rhythm. 

3.  Hip  grasp  stride  standing  downward  bending,  touching  floor  (be- 

tween feet)  alternately  with  left  and  right  hand,  turning  head 
and  shoulders  to  opposite  side.  (Rhythmic.) 

4.  Arm    bending    and    stretching    upward    and    downward.       (Even 

rhythm.) 

5.  Hip  grasp  standing  heel  raising  and  knee  bending.     (On  numeral 

signal  once  or  twice,  then  in  slow,  even  rhythm.) 

6.  Stride  standing  side  bending   (two  counts  each  side)    with  opposite 

arm  flinging  sideways-upward  (striking  thigh  on  return).  (Mod- 
erate rhythm.) 


196  GYMNASTIC  TEACHING 

7.  Alternate  foot  placing  sideways  with  (placing  of)  hands  on  hips. 

(Response  movement  once  or  twice,  then  in  slow  rhythm.) 

8.  Running  jump  forward  with  two  (quick)   start  steps. 

9.  Arm  raising  sideways,  palms  up,  with  deep  breathing. 

III.  Competitive  squad  activities. 

IV.  Run;  try  change  to  quick  time  on  four  counts;  breathing  exercise. 

Lesson  5. 

I.     Line  marching  as  before.     Review  left,  right  and  about  facings   (two 

counts).     (Slow  rhythm.) 
II.     1.    Hand  clapping  overhead   with  heel   raising. 

2.  Alternate  foot  placing  sideways  with  hands  on  hips,  then   (quick) 

knee  bending.  (Response  movement  one  round,  then  in  slow 
rhythm;  movements  quick;  positions  held.) 

3.  Low  arm  circling  (two  counts),  palms  up,  with  backward  moving 

of  head.     (Response  movement;  repeated  three  to  five  times.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  side- 

ways. (Response  movement  one  round,  then  repeated  in  fairly 
quick  rhythm.) 

5.  Neck  grasp  stride  standing  quick  trunk  twisting  all  the  way  in  one 

movement.  (On  numeral  signal  one  round,  then  in  slow 
rhythm.) 

6.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward: 

change  feet  with  a  jump.  (On  numeral  signals;  varied  inter- 
vals.) 

7.  Arm  bending  and   stretching  upward,   first  in  even   rhythm,  then 

uneven  (holding  the  stretched  position  longer  than  the  bent). 

8.  Hip  grasp  standing  toe  jumping  alternately  to  left  and  right   (feet 

together). 

9.  Backward  moving  of  head  with  deep    (lateral  costal)    b-eathing. 

(Hands  placed  on  sides  of  lower  chest.) 

III.  Competitive  squad  activities. 

IV.  Run,  march  :  toe  march ;  breathing  exercise. 

Lesson  6. 

I.     Line  marching  as  before.     Rapid  and  unexpected  changes  of  direc- 
tion.    Frequent  and  unexpected  halts. 

II.     1.    Forward    bending    of    arms    with    (quick)    heel    raising.      (Slow 
rhythm;  quick  movements;  positions  well  marked.) 

2.  Hip  grasp   ividc  stride   standing  alternate   knee   bending    (all   the 

way  from  one  side  to  the  other  in  one  movement.  Both  knees 
are  straight  at  the  moment  of  passing  the  "center.")  (Slow 
rhythm;  slow  movements.) 

3.  Arm  bending  and  stretching  upward  and1  (slow)   sinking  sideways- 

downward,  with  backward  moving  of  head  on  second  count. 
(On  numeral  signals  once,  then  in  slow,  uneven  rhythm.) 

4.  Hip  grasp  stride  standing  forward-downward  bending,  alternating 

with  arm  stretching  downward.  (On  signal  once,  then  in  even 
rhythm.) 

5.  "Driving  stakes."     (With  feet  apart,   (1)   swing  (clenched)  hands 

behind  shoulder  with  sharp  trunk  twisting;  (2)  then  up  over- 
head with  untwisting,  continuing  straight  down  .in  front  of  feet 
with  simultaneous  quick  knee  bending.  First  on  one  side  at  a 
time.  Later  alternate.) 


197 

6.  Arm  bending  with  alternate  foot  placing   forward.      (Response 

movements  on  signal  one  or  two  rounds,  then  in  slow  rhythm ; 
quick  movements ;  positions  well  sustained.) 

7.  Hip  grasp  standing  leg  flinging  sideways,  left  and  right.     At  first 

stop  at  the  change.     Later  change  without  stop. 

8.  Running  jump  forward  with  three  start  steps. 

9.  Low  arm  circling,  palms  up,  with  breathing. 

III.  Squad  work. 

IV.  Run,  march,  etc. ;  breathing  exercise. 


Lesson  /. 

I.     Line  marching  as  before.     Right,  left  and  half  facings  in  one  quick 

movement. 
II.     1.    Arm  bending  with  alternate  toe  touching  sideways. 

2.  Arm  flinging  sideways  with  knee  bending  (heels  off).     (Moderate 

rhythm.) 

3.  Neck  grasp  stride  standing  backward  moving  of  head  with  chest 

expansion.  (Response  movement  repeated  on  signal  four  to  five 
times.) 

4.  Hip  grasp  standing  alternate  knee  upward  bending.     (Knee  moves 

as  high  as  possible,  foot  vertically  under  knee  throughout.  No 
position  held.  As  one  foot  strikes,  the  other  is  lifted.  Rhythm 
slow  enough  to  allow  full  range  of  movement.) 

5.  Arm  bend   stride   standing   trunk  twisting  all   the   way    from   one 

side  to  the  other,  alternating  with  arm  stretching  downward 
(three  counts).  (On  signal  one  round,  then  in  slow,  even 
rhythm ;  all  movements  quick ;  hips  kept  immovable  by  rigid 
straightening  of  knees.) 

6.  Neck  grasp  close  standing  (slow)   forward  bending  of  trunk  45°. 

(Straight  back;  head  and  elbows  well  back;  response  movement 
only,  repeated  four  to  five  times ;  hold  position  while  inspecting 
and  admonishing  about  details.) 

7.  Arm   bending  and   stretching   upward,    sideways   and   downward. 

(Even  rhythm.) 

8.  Hip  grasp   standing   position   on  one   foot,   the   other   raised   side- 

ways:  cut  step  sideways.     (Halt  on  second  count,  feet  together.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Squad  work. 

IV.  Run,  march,  etc.;  breathing  exercise. 

Lesson  S. 

I.     Line   marching  as  before.     Also   change   to   marking   time   and   half 

step. 
II.     1.    Hip  grasp  standing  heel  raising  and  knee  bending.     (Even  rhythm.) 

2.  Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with 

backward  moving  of  head.  (Response  movement  on  "One! 
Two!") 

3.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward- 

downward  bending.  (Each  part  on  signal  one  round,  then  in 
even  rhythm.) 

4.  Neck  grasp  stride  standing  alternate  trunk  twisting   (two  counts 

each  side).  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements;  positions  well  marked.) 


198  GYMNASTIC  TEACHING 

5.  Arms  side-horizontal  toe  standing  march  steps  forward  and  back- 

ward  (on  counts  for  each  step;  intervals  varied). 

6.  Arm  bending  and   stretching  upward  and   downward.      (First   in 

even,  then  uneven  rhythm:  the  stretched  positions  held  a  little 
longer  than  the  bent  arm  position.) 

7.  Hip  grasp  stride  standing  side  bending   (two  counts  each  side), 

alternating  with  arm  stretching  downward.  (One  round  on  sig- 
nal, then  in  slow,  uneven  rhythm  :  first  and  second  counts  slow, 
third  and  fourth  quick.) 

8.  Arm  bend  standing  jumping  on  toes  with  arm  stretching  and  foot 

placing  sideways. 

9.  Backward  moving  of  head  with  deep  breathing. 

III.  Squad  work. 

IV.  Run,  etc. ;  breathing  exercise. 

Lesson  9. 

I.     Line  marching  as  before. 
II.     1.    Low  arm  circling,  palms  up,  with  knee  bending,  heels  off. 

2.  Alternate    foot    placing   sideways    with    hands   on   hips,   and   heel 

raising.  (One  round  on  signal,  then  in  slow  rhythm;  all  move- 
ments quick;  positions  well  sustained.) 

3.  Arms  overhead  standing  "stretching."     (See  lesson  3.) 

4.  Arm  bend  stride  standing  forward-downward  bending,  alternating 

with  arm  stretching  downward.  (On  signal  once,  then  in  moder- 
ate, even  rhythm.) 

5.  Neck  grasp   standing  position  on  one   foot,  the  other   raised   side- 

ways:  change  feet  with  a  jump.     (Response  movement.) 

6.  Arm  bending  and  stretching  sideways  and  downward.      (First  in 

even,  then  uneven  rhythm.) 

7.  Neck  grasp  stride  standing  alternate  trunk  twisting   (two  counts 

each  side),  alternating  with  placing  hands  on  hips.  (On  signal 
one  round,  then  in  slow,  even  rhythm;  quick  movements.) 

8.  Hip   grasp   standing   hopping   alternately   on    left   and    right    foot 

sixteen,  eight,  four  times,  twice,  once. 

9.  High  arm  circling  (two  counts)   with  breathing. 

III.  Squad  work. 

IV.  Run,  march;  breathing  exercise. 

Lesson  w. 

I.     Line  and  column  marching.     Column  left  and  right. 
II.     1.    Placing  hands  on  neck  with  heel  raising.     (Rhythmic.) 

2.  Alternate  side  lunge  with    (placing)   hands  on  hips.      (On  signal 

one  round,  then   in   slow  rhythm;  quick  movements.) 

3.  Arms  side-horizontal   (palms  up)   standing  arm  raising  with  back- 

ward moving  of  head.     (Response  movement  four  to  six  times.) 

4.  Hip  grasp   (narrow  stride)   standing  stooping,  touching  floor  alter- 

nately with  left  and  right  hand  behind  heel  of  same  side.  (Try 
rhythmic  at  once.) 

5.  Arm  bend  forward  walk  standing  forward  bending  of  trunk  45°. 

(Slow,  restrained  movement  on  signal  three  to  four  times  each 
side.) 

6.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 

forward.  (On  signal,  then  in  slow  rhythm;  quick  movements; 
stop  unexpectedly  on  third  count.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  199 

7.  Neck  grasp  stride  standing  alternate  side  bending    (two  counts 

each  side).     (On  signal  once,  then  in  slow  rhythm;  slow  move- 
ments.) 

8.  Jumping   on   toes   with   arm   flinging   sideways-upward   and    foot 

placing    sideways.      (Like    "Jumping   Jack"    but    without    hand 
clapping  and  striking  thighs.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Squad  work. 

IV.  Run,  march ;  breathing  exercise. 

Lesson  11. 

I.     Line  marching.     Try  oblique  march,  starting  from  oblique  formation 

and  halting. 

II.  1.  Hip  grasp  standing  heel  raising  and  kne*  bending,  first  half-way 
then  all  the  way,  in  even  and  uneven  rhythm  (second  and  third 
count  slower  than  first  and  fourth). 

2.  Arm  bend   standing   slow  arm   stretching   upward   with   backward 

moving  of  head.     (Response  movement  four  to  six  times.) 

3.  "Jackknife  bend."      (With   feet   wide  apart,   bend  quickly   at   hips 

and  touch  floor,  keeping  knees  and  upper  back  straight.     Strike 
thighs  on  return.    Fairly  slow  rhythm.) 

4.  Hip  grasp  standing  alternate  leg  flinging  sideways.     (Rhythm  slow, 

but  both  going  and  return  movements  quick.     Mark  time  as  the 
foot  strikes  floor,  holding  the  position  a  moment.) 

5.  Forward  bending  of  arms,  then  flinging  sideways  and  downward. 

(Slow,  even  rhythm;  all  three  movements  quick.) 

6.  Hip  grasp  toe  standing  alternate  knee  upward  bending.      (Knee 

high,  foot  well  forward.    As  one  foot  strikes,  the  other  is  lifted. 
Moderate  rhythm.) 

7.  Arm  bend  stride  standing  trunk  twisting  all  the  way,  alternating 

with  arm  stretching  sideways.      (On  signal  one   round,  then  in 
slow  rhythm;  all  movements  quick.) 

8.  Hip  grasp  standing  jumping   on   toes  with   foot   placing   sideways 

and  crossing  of   feet  on  return  jump. 

9.  Arm  raising  sideways,  palms  up,  with  breathing. 

III.  Squad  work. 

IV.  Run,  march  ;  breathing  exercise. 

Lesson  12. 

I.     Oblique  march  and  halt,  starting  from  line  march. 
II.     1.    Arm    bend    standing    arm    stretching    sideways    with    heel    raising. 
(Rhythmic.) 

2.  Neck  grasp  wide  stride  standing  alternate  knee  bending   (all  the 

way  in  one  movement).      (Slow  rhythm.) 

3.  Hip  grasp  forward  walk  standing  backward  moving  of  head  with 

chest  expansion.      (Response  movement  three  times  each  side.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm   stretching  up- 

ward.    (Each  part  on  signal  once,  then  in  fairly  quick  rhythm.) 

5.  Arm  forward  bend  stride  standing  side  bending   (two  counts  each 

side).     (On  signal  one  round,  then  in  slow  rhythm;  slow  move- 
ments.) 

6  Balance  march.  (On  signal.  One  count  for  each  step.  Weight 
transferred  completely  to  each  foot  and  a  very  erect  position 
held.) 


200  GYMNASTIC  TEACHING 

7.  Arm   bending  and   stretching  upward,   sideways   and   downward. 

(Uneven  rhythm.) 

8.  Hip   grasp   standing   position   on  one    foot,   the  other   raised   for- 

ward: cut-step  backward- forward.     (Halt  and  change.) 

9.  Backward    moving    of    head    with    breathing.      (Hands    may    be 

placed  on  upper  front  or  sides  of  lower  chest.) 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  13. 

I.     Oblique  march,  starting  from  and  returning  to  line  march. 
II.     1.    Arm  flinging  sideways  with  alternate  foot  placing  forward.     (Try 
rhythmic  at  once.) 

2.  Hip  grasp  standing  knee  bending,  heels  off.     (Rhythmic.) 

3.  High  arm  circling,  three  counts,  with  backward  moving  of  head. 

(First  and  second  counts  quick,  third  slow.  On  signal  once, 
then  in  uneven  rhythm.) 

4.  Arm  bend  stride  standing  forward-downward  bending,  alternating 

with  arm  stretching  sideways.  (On  signal  once,  then  in  moder- 
ate, even  rhythm.) 

5.  "Batting  pitched  ball."     (With  hands  clenched  in  front  of  chest: 

(1)  preliminary  swing  and  return;  (2)  quick  swing  behind  right 
shoulder,  with  trunk  twisting,  followed  immediately  by  sharp 
horizontal  return  swing  of  partly  straightened  arms  and  step- 
ping out  with  left  foot;  (3)  step  back  and  place  hands  in  front 
of  chest.  Same  on  other  side.) 

6.  Hip  grasp  standing  alternate  leg  flinging  forward-upward.     (Slow 

rhythm,  holding  position  between  each  swing.) 

7.  Neck  grasp   stride  standing  alternate  side  bending    (two  counts 

each  side),  alternating  with  arm  stretching  downward.  (On 
signal  one  round,  then  in  uneven  rhythm  :  one  and  two  slow, 
three  and  four  quick.) 

8.  Hip  grasp  standing  jumping  on  toes  with    foot   placing  sideways, 

alternating  with  foot  placing  forward-backward.  ("Making  the 
Cross.") 

9.  Low  arm  circling,  palms  up,  with  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  14. 

I     Marching.     Review. 

II.     1.    Arm    bend    standing    arm    stretching    upward    with    heel    raising. 
(Rhythmic.) 

2.  Stride  standing  low  arm  circling,  palms  up,  with  quick  knee  bend- 

ing.    (On  signal  once,  then  in  moderate  rhythm.) 

3.  Neck  grasp  forward  walk  standing  backward  moving  of  head  with 

chest  expansion.     (Response  movement  three  times  each  side.) 

4.  Hip  grasp  u'idc  stride  standing  downward  bending,  touching  floor 

(knees  and  upper  back  straight),  alternating  with  arm  stretch- 
ing downward.  (On  signal  once,  then  in  fairly  quick  rhythm.) 

5.  Arm    bending    with    alternate    foot    placing    sideways,    and    trunk 

twisting  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  slow,  even  rhythm;  all  movements  quick.) 

6.  "Pitching    (overhand)    ball."      (  (1)    Raise  closed   hands   to   right 

shoulder  with  twisting  to  right;  (2)  make  overhand  throwing 
motion  with  right  hand,  at  the  same  time  stepping  out  with  left 
foot  and  turning  to  left;  (3)  bring  up  right  foot  to  left.  After 


PROGRESSION  OF  GYMNASTIC  LESSONS  201 

a  number  of   rhythmic  repetitions  do   the   movement  on  other 
side.) 

7.  Arm   bending  and   stretching  upward,   sideways  and   downward. 

(Uneven  rhythm.) 

8.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways, 

alternating  with  knee  upward  bending  left  and  right  and  alter- 
nate. 

9.  High  arm  circling  (two  counts)   with  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Series  II. 
Junior  High  School,  Girls  and  Boys.    Second  Year. 


I.     Alignment  on  one  or  two  ranks.     Line  marching  and  halts.     Review 
about  facing  on  two  counts,  stopping  on  first.    Begin  "to  the  rear 
march,"  stopping  on  first  count.    Later  complete  on  three  counts. 
Count  twos,  open  order  by  forward  and  backward  steps. 
II.     1.    Placing  hands  on  hips  with  heel  raising.     (Rhythmic.) 

2.  Hand  clapping  overhead  with  knee  bending,  heels  off.      (Rhyth- 

mic.) 

3.  Arm  bend  standing  backward  moving  of  head  with  chest  expan- 

sion.     (Response  movement  only,  repeated  four  to  five  times.) 

4.  Hip    grasp    stride    standing    downward    bending,    touching    floor 

alternately  with  left  and  right  hand  (turning  head  and  shoulders 
to  opposite  side).  (In  even  or  slightly  uneven  rhythm.) 

5.  Arm   bending  and    stretching   sideways   and   downward.      (Even 

rhythm.) 

6.  Neck  grasp  standing  forward  bending  of  trunk  45°.      (Slow,   re- 

strained movement  from  hips,  with  flat  back,  head  and  chest 
in  best  possible  position.  On  signal  only,  four  to  six  times.) 

7.  Marking   time    (raising   the    knee    moderately    and    pointing    toe 

down  at  each  step.  Change  to  double  time.  Halt  on  two 
counts.)  Also  hip  grasp  standing  jumping  on  toes  (feet  to- 
gether) in  medium,  then  very  quick  rhythm.  (At  first  stop  at 
the  change.  Later  change  on  signal.) 

8.  Arm  raising  sideways  with  backward  moving  of  head  and  breath- 

ing. 

III.  Organize    class    for   competitive    squad    activities    representing   some 

advance  over  work  of  first  year. 

IV.  Run,  march   (including  toe  march)  ;  breathing  exercise. 

Lesson  2. 

I.  Line  marching  (good  alignment,  light  step,  lively  rhythm).  Halts. 
About  facing  in  slow  rhythm,  quick  movements.  Review  "to  the 
rear  march"  stopping  on  first  count.  Then  the  complete  ma- 
noeuvre. Open  order  as  before,  on  one  signal.  Review  two- 
count  rhythmic  facings. 

II.     1.    Alternate    foot   placing   forward   with    (placing)    hands   on   neck. 
(On  signal  one  round,  then  in  slow  rhythm;  quick  movements.) 


202  GYMNASTIC  TEACHING 

2.  Stride  standing  arm  bending  with  quick  knee  bending.     (Rhyth- 

mic.) 

3.  Arm  flinging  forward-sideways,  palms  up,  and  downward   (quick 

low  arm  circling)  with  backward  moving  of  head.  (Slow 
rhythm.) 

4.  Hip   grasp   stride    standing    forward-downward    bending.      (Fairly 

quick,  sweeping  movement.  Upper  back  flat,  head  high.  On 
signal  four  to  six  times.) 

5.  Forward  bending  of   arms  with  heel   raising.      (Arm   movement 

alone  on  signal  once  or  twice,  then  combined  with  heel  raising 
in  slow  rhythm,  quick  movements,  positions  well  sustained.) 

6.  Hip  grasp  standing  knee  upward  bending  left  and  right.     Change 

without  stop.  (Knee  as  high  as  possible;  foot  vertically  under 
knee:  down-movement  as  quick  as  up-stroke;  settle  weight  on 
both  feet.) 

7.  Stride  standing  side  bending  all  the  way  in  one  movement,  with 

opposite  arm  raising  to  vertical.     (Moderate  rhythm  and  speed.) 

8.  Standing  jump  upward  on  four  counts   (with  arm   flinging  over- 

head). Standing  jump  forward  on  four  counts  (with  arm 
flinging  forward). 

9.  Backward  moving  of  head  with  breathing. 

III.  Squad  work. 

IV.  Run,  changing  to  quick  time  on  four  counts ;  breathing  exercise. 


Lesson  3. 

I.     Line  inarching.     Change  to  column  by  reviewing  "by  the  left  and 

right  flank  march."     Sharp  90°  turn.    Accent  second  count. 
II.     1.    Arm  flinging  sideways  with   (quick)  heel  raising.     (Rhythmic.) 

2.  Neck  grasp  stride  standing  backward  moving  of  head  with  chest 

expansion.     (Response  movement  four  to  six  times.) 

3.  Arm  bend  standing  stooping   (touching  floor  in  front  of  feet)   and 

return,  alternating  with  arm  stretching  downward.  (On  signal 
once,  then  in  fairly  quick  rhythm.) 

4.  "Paddling."      (With    feet   apart    and    arms    raised    forward,    (1) 

swing  arms  downward  and  backward  with  turn  and  bend  of 
body  to  left;  (2)  return  to  starting  position  and  continue,  ten 
to  sixteen  counts.  Then  change  to  other  side.) 

5.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward  : 

change  feet  with  a  jump.     (On  signal  only;  varied  intervals.) 

6.  Arm  bending  and  stretching  upward.     (First  in  even,  then  uneven 

rhythm.) 

7.  Running  jump,   springing  from  both   feet,  two  start  steps.      (On 

"Go!"  Make  the  jump  high  rather  than  long.  Hold  landing 
position.  Return  to  fundamental  position  on  "Four!  Five!"} 

8.  Hip   grasp   standing   jumping   on  toes   with    foot   placing    forward- 

backward  and  together.     (Weight  equally  on  both  feet.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  j. 

I.     Marching  as  before.     Add  marking  time  and  half  step. 
II.     1.    Hip    grasj)    standing    heel    raising    and    knee    bending.      (Moderate 
rhythm;   quick  movements;   positions  marked.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  203 

2.  Arm  bend  standing  slow  arm  stretching  upward   with  backward 

moving  of  head.     (Response  movement  five  to  six  times.) 

3.  Hip  grasp   standing   forward-downward  bending,   alternating   with 

arm  stretching  downward.  (On  signal  once,  then  in  moderate, 
even  rhythm.) 

4.  Neck  grasp  stride  standing  quick  trunk  twisting  all  the  way  from 

one  side  to  the  other.  (On  signal  one  round,  then  in  slow 
rhythm;  movements  quick;  positions  held.) 

5.  Forward  bending  of  arms,  then  arm  flinging  sideways  and  down- 

ward. (On  signal,  then  in  slow,  even  rhythm;  quick  move- 
ments.) 

6.  Hip  grasp  standing  leg  flinging   forward  left  and  right.     Change 

without  stopping.  (Up-swing  swift  and  high,  return  equally 
swift.  Settle  weight  on  both  feet  each  time  and  hold  position  a 
moment.  Try  to  keep  knee  of  supporting  leg  straight.  Mark 
time  as  the  foot  strikes.) 

7.  Arm  bend   stride   standing   side   bending    (two   counts   each   side). 

(On  signal  one  round,  then  in  slow  rhythm;  slow  movement.) 

8.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways  and 

crossing  of  feet  on  return  jump. 

9.  Low  arm  circling,  palms  up,  with  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  5. 

I.     Marching  as  before.    Begin  oblique  march.    Left,  right  and  half  fac- 
ings in  one  quick  movement. 
II.     1.    Arm  flinging  sideways  with  knee  bending,  heels  off.     (Rhythmic.) 

2.  Alternate   foot  placing   sideways   with   hands   on   hips,   and   heel 

raising.  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements.) 

3.  Head  grasp  standing  "stretching."     (See  Series  I,  lesson  3.) 

4.  "Chopping  a  log."     (See  Series  I,  lesson  1,  exercise  6.) 

5.  Arm  bending  and  stretching  upward  and  downward.      (First  in 

even,  then  in  uneven  rhythm.) 

6.  Hip    grasp    standing   alternate    knee    upward   bending.      (Not    too 

quick  rhythm.) 

7.  Arm  bend   forward  walk  standing  forward  bending  of  trunk  45°. 

(Response  movement  three  times  on  each  side.) 

8.  Jumping   on   toes   with   arm    flinging   sideways-upward   and    foot 

placing  sideways.  Try  turning  90°  left  on  going  or  return  jump. 
When  half  or  whole  turn  has  been  completed  turn  to  right. 

9.  Arm  bend  standing  slow  arm  stretching  sideways  with  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  6. 

I.     Marching.     Oblique  march,  starting  from  and  returning  to  front  line 

march. 

IT.     1.    Forward  walk  standing  arm  bending   with  heel   raising.      (Rhyth- 
mic;  weight  equally  on  both   feet.) 

2.  Arm    forward   bend    stride    standing    arm    flinging    sideways    with 

(quick)   knee  bending.     (Slow  rhythm;  quick  movements.) 

3.  High  arm  circling   (two  counts)   witli  backward  moving  of  head. 

(Response  movement  five  to  six  times.) 

4.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward- 


204  GYMNASTIC  TEACHING 

downward  bending.  (On  signal  one  round,  then  in  even 
rhythm.) 

5.  Arm  bend  stride  standing  trunk  twisting  all  the  way,  alternating 

with  arm  stretching  downward.  (On  signal  once,  then  in  slow 
rhythm;  all  movements  quick.) 

6.  Neck  grasp  toe  standing  march  steps   forward  and  backward   (on 

counts  for  each  step). 

7.  Stride   standing  side  bending    (two  counts   each   side)    with  oppo- 

site arm  flinging  sideways-upward.  (Moderate  rhythm;  arm 
movement  quick,  trunk  bending  moderately  so;  arm  well  back.) 

8.  Hip  grasp  standing  jumping  on  toes  four  times  forward  then  four 

times  backward  (or  alternately  forward  and  backward.  Feet 
together). 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  /. 

I.  Alignment  on  one  rank  (or,  if  room  is  not  long  enough,  on  two 
ranks  six  to  eight  steps  apart).  Count  off  (fours).  Begin 
"Squads  right  march"  as  done  by  the  front  rank  only.  Start 
from  standstill  each  time.  Same  "Squads  left." 

II.  1.  Arm  bend  standing  arm  stretching  sideways  with  alternate  foot 
placing  forward.  (On  signal  one  round,  then  in  slow  rhythm; 
movements  quick;  positions  held.) 

2.  Hip  grasp  standing  knee  bending,  heels  off.     (Rhythmic.) 

3.  Arms  overhead   standing   "stretching."      (Imitation,   then   response 

movement.) 

4.  Hip  grasp  standing  stooping,  touching  floor   (between  feet)    alter- 

nately with  left  and  right  hand  (turning  head  and  shoulders 
to  opposite  side).  (Slightly  uneven  rhythm.) 

5.  Arm  bending  and  stretching  forward.     (On  signal  once  or  twice, 

seeing  that  arms  are  at  least  shoulder  distance  apart,  chest  high, 
back  flat,  shoulders  low.  Then  repeat  in  even  rhythm,  trying 
for  correct  details.) 

6.  Hip   grasp  standing   leg   flinging   sideways   left   and   right.     Later 

alternate.      (Slow  rhythm.) 

7.  Arm   bend   stride    standing    alternate    trunk   twisting    (two   counts 

each  side),  alternating  with  arm  stretching  sideways.  (On 
signal  one  round,  then  in  slow  rhythm;  quick  movements.) 

8.  Hip  grasp  standing  jumping  on  toes  four  times  to  left  then  four 

times  to  right  (or  alternate  on  each  jump). 

9.  Low  arm  circling,  palms  up,  with  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  8. 

I.     Marching.     "Squads   right  and   left"  as   done   by   front   rank.     Start 
while  marching,  taking  one  step  more  than  from  a  halt  (prefer- 
ably  four  steps   from   halt,   five  steps  when   on  the   inarch),   ac- 
centing first  step  in  the  new  direction. 
II.     1.    Arm  flinging  sideways,  palms  up,  with  heel  raising.     (Rhythmic.) 

2.  Alternate   side   lunge  with  hands  on   hips.      (On   signal   once,   then 

in  slow  rhythm ;  quick  movements.  Knee  well  out,  but  avoid 
turning  out  toe  of  moving  foot.) 

3.  Ann  bending  and  stretching  upward  and  (slow)  sinking  sideways- 


PROGRESSION  OF  GYMNASTIC  LESSONS  205 

downward  with  backward  moving  of  head  (on  second  count). 
(On  signal  once,  then  in  uneven  rhythm.) 

4.  Hip  grasp  stride  standing  forward-downward  bending,  alternating 

with  placing  hands  on  neck.  (On  signal  once,  then  in  even 
rhythm.) 

5.  Arm    bending    with    alternate    foot    placing    sideways,    and    trunk 

twisting  (to  same  side  as  moved  foot).  (On  signal,  then  in  slow 
rhythm;  all  movements  quick;  positions  held.) 

6.  Hip  grasp  standing  touch  step  balance  march.     (At  first  on  two 

counts  for  each  step,  later  in  slow  rhythm ;  first  count  quick, 
second  slow.  Body  very  erect  throughout.) 

7.  Arm    bending  and    stretching    forward    and    downward.      (Even 

rhythm.) 

8.  Hip  grasp  standing  position  on  one   foot,  the  other  raised  side- 

ways:  cut-step  sideways  and  hop.  (Halt  on  second  count,  with 
feet  together.) 

9.  High  arm  circling  (two  counts)   with  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  p. 

I .     Marching.     "Squads   right  and   left"  as  done  by  front   rank.     Start 

from  halt  and  while  marching. 
II.     1.    Arm  flinging  forward  with  alternate  foot  placing  sideways.     (On 

signal  one  round,  getting  correct  position,  then  in  slow  rhythm ; 

movements  quick;  positions  held.) 

2.  Arm  bend  standing  arm  stretching   sideways   with  knee  bending, 

heels  off.     (Rhythmic.) 

3.  Neck   grasp    forward    walk    standing    backward    moving    of    head 

with  chest  expansion.     (On  signal  three  times  each  side.) 

4.  Hip  grasp  toe  standing  alternate  knee  upward  bending.     (Moderate 

rhythm.) 

5.  Arm  bend  stride  standing  alternate  side  bending   (two  counts  each 

side),  alternating  with  arm  stretching  sideways.  (On  signal 
one  round,  then  in  uneven  rhythm ;  first  and  second  counts  slow, 
third  and  fourth  quick.) 

6.  Quick  high  arm  circling  (two  counts)  with  alternate  toe  touching 

sideways.     (Aloderate  rhythm,  but  positions  distinct.) 

7.  "Pulling  up   anchor"    (or  "horizontal    rope   pull").      (With    feet 

apart,  (1)  reach  to  left  and  downward  with  trunk  twisting  and 
left  knee  bending;  (2)  straighten  up  with  shifting  of  weight  to 
right  foot,  bending  right  knee  and  drawing  hands  toward  right 
hip.  Slightly  uneven  rhythm.  Same  on  other  side.) 

8.  Arm  bend   standing  jumping  on  toes   with    foot   placing   sideways 

and  arm  stretching  upward. 

9.  Backward  moving  of  head  with  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  10. 

I.  Marching.  "Squads  right  and  left  about"  as  done  by  front  rank. 
(When  done  from  standstill,  first  and  second  parts  need  four 
steps  each.  When  done  while  marching  first  part  needs  five, 
second  part  four  steps.  It  helps  to  have  class  accent  first  step 
of  each  part,  as  well  as  first  step  forward — ninth  or  tenth  count, 
as  the  case  may  be.) 


206  GYMNASTIC  TEACHING 

II.     1.    Arm    bend    standing    arm    stretching    upward    with    heel    raising. 
(Rhythmic.) 

2.  Hip    grasp    standing    toe    touching    sideways    with    opposite    knee 

bending,  at  first  on  one  side  at  a  time,  later  alternate. 

3.  Arm    raising   sideways-upward   with    backward    moving   of   head. 

(Response  movement  four  to  six  times.    Hands  turn  at  shoulder 
level  without  stopping.) 

4.  Hip  grasp  u'idc  stride  standing  downward  bending,  touching  floor, 

alternating  with  arm   stretching   downward.      (On   signal  once, 
then  in  even,  fairly  quick  rhythm.) 

5.  Alternate    foot   placing   sideways   with   hands   on   neck,   and   trunk 

twisting  (to  side  of  moved  foot).     (On  signal  one  round,  then 
in  slow,  even  rhythm;  all  movements  quick.) 

6.  Hip  grasp  standing  balance  march  with  knee  upward  bending  and 

stretching  forward-downward    (on  three  counts   for  each  step; 
first  and  second  quick,  third  slow).     (Repeat  in  uneven  rhythm.) 

7.  Arm    bending    and    stretching    forward    and    upward.       (Even 

rhythm.) 

8.  Standing  jump  sideways    (on   four  counts)    with  arm   flinging  to 

same  side  as  jump,  landing  with  hands  at  sides. 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 

Lesson  ii. 

I.     Marching.     "Squads  right  and  left"  as  done  by  rear  rank. 
II.     1.    Neck  grasp  li'idc  stride  standing  alternate  knee  bending.     (Rhyth- 
mic.) 

2.  Arm  bending  with  alternate  oblique   foot  placing    (forward-out- 

ward).    (On  signal  one  round,  then  in  slow  rhythm;  movements 
quick.) 

3.  Arms  side-horizontal  forward  walk  standing  turning  of  hands  with 

backward    moving    of    head    and    chest    expansion.      (Response 
movement  three  times  each  side.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm   stretching  up- 

ward. 

5.  One  hand  on  hip  one  hand  on  neck  stride   standing  side  bending, 

alternating  with  change   of   hands.      (On   signal   and  in   uneven 
rhythm;  first  and  second  counts  slow,  third  quick.) 

6.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward : 

knee  bending  (supporting  leg).     (Slow  response  movement  three 
times  each  side.) 

7.  Neck   grasp    forward    walk    standing   trunk   twisting    (to    side   of 

forward    foot   only).      (On   signal   once  or   twice,   then    in   slow 
rhythm;  movements  quick;  positions  held;  keep  knees  rigid.) 

8.  Hip  grasp   standing  jumping  on  toes  with    foot   placing   sideways, 

alternating   with   leg   flinging   forward   left   and   right   and   alter- 
nate. 

9.  Low  arm  circling,  palms  up,  with  breathing. 

III.  Squad  work. 

IV.  Run.  t-tc. 

Lesson  12. 

I.     Marching.     "Squads  right  and  left"  as  done  by  rear  rank. 
II.      1.    Low  arm  circling,  palms  up,  with  heel  raising.      (Rhythmic.) 

2.    Alternate  side  lunge  with  hands  on  neck.     (On  signal  one  round, 
then  in  slow  rhythm.     Movements  as  quick  as  possible.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  207 

3.  Arm   flinging    forward-upward,   sideways,   palms   up,   and   down- 

ward, with  backward  moving  of  head  (on  first  count).  (On 
signal  once,  then  in  slow,  even  rhythm ;  all  three  movements 
quick;  positions  well  sustained.) 

4.  Neck  grasp  standing  forward-downward  bending,  alternating  with 

placing  hands  on  hips.     (On  signal  once,  then  in  even  rhythm.) 

5.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 

forward.  (On  signal  one  round,  then  in  slow  rhythm;  all 
movements  quick;  stop  unexpectedly  on  third  count.) 

6.  Arm  bend  forward  walk  twist  standing  arm  stretching  sideways. 

(On  signal,  then  in  slow,  even  rhythm;  keep  knees  rigid.) 

7.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  side  bend- 

ing (to  side  of  moved  foot).  (On  signal  one  round,  then  in 
slow,  uneven  rhythm ;  first  and  fourth  counts  quick,  second  and 
third  slow.  Be  sure  to  hold  third  count  long  enough.) 

8.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward : 

cut-step  backward-forward  six  counts,  "break"  and  change  on 
seventh  and  eighth  counts  (by  foot  placing  sideways).  (When 
halting  class,  say  "Class"  on  fifth  count  and  "Halt"  on  sixth.) 

9.  Arm  bend  standing  slow  arm  stretching  upward  with  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 


Lesson  13. 

I.     Marching.     Form  on  two  ranks  arm's  distance  plus  ten  inches  apart. 
"Squads  right  and  left"  complete. 

II.  1.  Arm  bend  standing  arm  stretching  upward  with  alternate  foot 
placing  sideways.  (On  signal  one  round,  then  in  slow  rhythm; 
movements  quick.) 

2.  Hip  grasp  standing  heel  raising  and  knee  bending  half-way  and  all 

the  way  down.     (In  even  and  uneven  rhythm.) 

3.  Arm  bend   forward  walk  standing  slow  arm   stretching   sideways, 

palms  up,  with  backward  moving  of  head  and  chest  expansion. 
(Response  movement  three  times  with  each  foot  in  front.) 

4.  "Catching  low   pitched  ball  and  throwing  to   second   base."      (1) 

Stoop  down ;  (2)  right  hand  throw  in  direction  faced,  stepping 
forward  with  left  foot;  (3)  return  to  fundamental  position, 
bringing  right  foot  to  left.  After  several  repetitions  change  to 
other  side. 

5.  Neck  grasp  standing  position  on  one   foot,  the  other   raised  side- 

ways: change  feet  with  a  jump.  (Response  movement  only. 
Varied  intervals.) 

6.  Arm    bending    and    stretching    upward,    sideways    and    downward. 

(Uneven  rhythm.) 

7.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward 

bending  of  trunk  45°.  (On  signal  one  round,  then  in  slow, 
uneven  rhythm ;  first  and  fourth  counts  quick,  second  and  third 
slow.) 

8.  Standing  jump   upward  with  arm   flinging  overhead,  landing  with 

90°  turn.     (Response  movement  on  four  counts.) 

9.  Arm  raising  sideways,  palms  up,  with  breathing. 

III.  Squad  work. 

IV.  Run.  etc. 


208  GYMNASTIC  TEACHING 

Lesson  14. 

I.     Marching.     "Squads  right  and  left." 

II.     1.    Arm   bend    forward   walk   standing   arm   stretching   sideways   with 
heel  raising.      (Rhythmic.) 

2.  Alternate  toe  touching  sideways  with  opposite  knee  bending  and 

placing  hands  on  hips. 

3.  Anns   overhead   standing   arm   parting   with   backward   moving   of 

head  and  chest  expansion.  (Response  movement,  slow  and  re- 
strained, four  to  six  times.) 

4.  Alternate  foot  placing  sideways  with  hands  on  neck,  and  forward- 

downward  bending.     (On  signal  once,  then  in  even  rhythm.) 

5.  "Shortstop  catching  high  liner  and  throwing  to  first  (right  hand) 

or  third  base"  (left  hand  throw).  ((1)  Throw  arms  overhead 
with  quick  rising  on  toes;  (2)  right  hand  throw  to  left,  stepping 
to  left  with  left  foot;  (3)  return  to  fundamental  position,  bring- 
ing right  foot  to  left.  After  several  repetitions  (in  rhythm) 
change  to  other  side.) 

6.  Arm    bend    standing   alternate    leg    flinging    forward-upward    with 

hand  clapping  behind  knee.  (Use  double  time  marking,  accent- 
ing and  holding  second  count,  making  rhythm  slow  and  uneven.) 

7.  Neck   grasp    stride    standing    side    bending,    alternating    with    arm 

stretching  downward.  (On  signal  once,  then  in  slow,  uneven 
rhythm;  first  and  second  counts  slow,  third  and  fourth  quick.) 

8.  Hip  grasp  standing  jumping  on  toes  with  crossing  of  feet  on  each 

jump. 

9.  High  arm  circling   (two  counts)   with  backward  moving  of  head 

and  breathing. 

III.  Squad  work. 

IV.  Run,  etc. 


Series  III. 

High  School  Girls.    First  Year  (or  Junior  liigh 
School.    Third  Year.} 

Lesson  i. 

I.  Alignment  on  one  or  two  ranks.  Line  marching  and  halts.  About 
facing  on  two  counts,  stopping  on  first.  Practice  alignment, 
lively  rhythm,  light  step,  toes  straight  ahead  and  touching 
first.  Begin  "to  the  rear  march,"  stopping  on  first  count. 
Later  complete  on  three  counts.  Count  twos.  Open  order  by 
forward  and  backward  steps. 
II.  1.  Arm  flinging  sideways  with  heel  raising.  (Rhythmic.) 

2.  Hip    grasp    stride    standing    knee    bending.      (Slow    rhythm;    quick 

movements.) 

3.  Quick  low  arm  circling,  palms  up,  with  backward  moving  of  head 

(two  counts).      (Slow  or  moderate  rhythm.) 

4.  Hip    grasp    stride    standing    forward-downward    bending.       (Fairly 

quick,  sweeping  movement  in  hips  and  lower  back;  upper  back 
straight.     On  signal   four  to  five  times.) 

5.  Arm  bending  and   stretching  upward.      (Even    rhythm.) 

6.  Hip  grasp  standing  knee   upward   bending   left   and    right.      (First 

stop  to  change.     Later  change  without  stopping.     Slow  rhythm; 


PROGRESSION  OF  GYMNASTIC  LESSONS  209 

quick  movements ;  knee  as  high  as  possible ;  settle  on  both  feet 
each  time;  mark  time  as   foot  strikes.) 

7.  Neck  grasp  stride  standing  trunk  twisting  all  the  way   from  side 

to    side.      (Slow    rhythm;    quick   movements;    positions    held    a 
moment.) 

8.  Hip  grasp  standing  jumping  on  toes  (feet  together)    in  moderate, 

very  slow  and  quick  rhythm. 

9.  Backward  moving  of  head  with  breathing. 

III.  Organize  class  for  apparatus  work  and  competitive  squad  activities. 

(For  elementary  apparatus  work,  see  Appendix.) 

IV.  Run,  toe  march ;   breathing  exercise. 


Lesson  2. 

I.  Marching.  "To  the  rear  march"  (complete  on  three  counts).  (Re- 
view stopping  on  first  count  whenever  necessary  to  get  good 
execution.)  Begin  "by  the  left  and  right  flank  march"  in  very 
slow  rhythm.  Open  order  as  before.  Facings  in  two  counts, 
complete.  (Slow  rhythm.) 
II.  1.  Arm  bending  with  heel  raising.  (Rhythmic.) 

2.  Alternate  foot  placing  sideways  with  hands  on  hips.     (On  signal 

one   round,  then  in  slow   rhythm ;   quick  movements ;   positions 
held.) 

3.  Neck  grasp  standing  backward  moving  of  head  with  chest  expan- 

sion.     (On  signal  four  to  five  times.) 

4.  Hip    grasp    standing    stooping,    alternating    with    arm    stretching 

downward.      (On    signal    once,    or    start    immediately    in    fairly 
quick  rhythm.) 

5.  Arm   bending   and    stretching   sideways   and    downward.      (Even 

rhythm.) 

6.  Hip  grasp  stride  standing  side  bending  all  the  way   in  one  move- 

ment.    (Slow  rhythm;  slow  movement.) 

7.  Hip   grasp   standing   position   on   one    foot,   the   other    raised    for- 

ward:    change   with    a   jump.      (On    signal    six    to   eight   times. 
Varied  intervals.) 

8.  "Jumping  Jack."      (Jumping  on  toes  with  hand  clapping  overhead 

and  foot  placing  sideways.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  j. 

I.     Marching  as  before.     Perfect  "to  the  rear"  and  "by  the  left  and  right 

flank  march." 

II.  1.  Arm  bending  with  alternate  foot  placing  forward.  (On  signal 
one  round,  then  in  slow  rhythm ;  quick  movements ;  weight 
equally  on  both  feet;  later  start  at  once  in  rhythm.) 

2.  Hip  grasp  standing  knee  bending,   heels   off.      (Two-count   move- 

ment in  moderate  rhythm.) 

3.  Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with 

backward    moving   of    head   and   chest   expansion.      (On    signal 
four  to  six  times.) 

4.  "Chopping  down  a  tree."      (See  Series  I,  lesson   1.) 

5.  Hip   grasp   standing   leg   flinging   forward   left   and   right.      (Slow 

rhythm ;    quick    up-and-down    movement,    as    high    as    possible ; 


210  GYMNASTIC  TEACHING 

settle  on  both  feet  each  time  and  hold  position  a  moment ;  single 
time  marking  as  foot  strikes.) 

6.  Arm    bending    and    stretching    upward    and    downward.       (Even 

rhythm.) 

7.  Arm  bend  stride  standing  trunk  twisting  all  the  way  from  side  to 

side,  alternating  with  arm  stretching  downward  (three-count 
movement).  (On  signal  one  round,  then  in  slow  rhythm;  all 
movements  quick;  positions  held.) 

8.  Hip  grasp  standing  toe  jumping  alternately  to  left  and  right   (feet 

together).     (Rhythmic.) 

9.  Arm  raising  sideways  with  backward  moving  of  head  and  breath- 

ing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  4. 

I.  Marching  as  before.  More  rapid  changes.  Marking  time  and  half 
step  forward  and  backward.  Right  and  left  facings  in  one  move- 
ment. 

II.     1.    Arm    bend    standing    arm    stretching    sideways    with    heel    raising. 
(Rhythmic.) 

2.  Hip   grasp   wide   stride    standing   alternate   knee   bending    (all   the 

way  from  side  to  side  in  one  movement).  (On  signal  once, 
then  in  slow  rhythm.) 

3.  Arm    raising    sideways-upward    with    backward    moving   of    head 

and  chest  expansion.  (Two  counts;  slow,  powerful  movements. 
Hands  turn  at  shoulder  level,  without  stopping.  On  signal  four 
to  six  times.) 

4.  Arm  bend  stride  standing   forward-downward  bending    (as   far  as 

possible  with  straight  upper  back),  alternating  with  arm  stretch- 
ing downward.  (On  signal  once,  then  in  moderate,  even 
rhythm.) 

5.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.      (See  leg 

flinging  forward  in  preceding  lesson.  First  stop  to  change, 
later  omit  stop.) 

6.  Forward   bending  and   side   flinging   of   arms;    return   in    reverse 

order.  (On  signal  once,  then  in  slow  rhythm ;  quick  move- 
ments.) 

7.  Neck  grasp   stride   standing  alternate  trunk  twisting    (two  counts 

each  way).  (On  signal  one  round,  then  in  moderate  rhythm; 
quick  movements.) 

8.  Hip  grasp   standing  jumping  on  toes  with   foot   placing   sideways, 

alternating  with  knee  upward  bending  left  and  right  and  alter- 
nate. 

9.  Low  arm  circling,   palms  up,   with   backward  moving  of  head  and 

breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  5. 

I.  Marching  as  before.  Add  oblique  march  from  halt  and  while  march- 
ing. 

II.     1.    Hip  grasp  standing  heel   raising  and  knee  bending    (four  counts). 
(Moderate  rhythm;  quick  movements;  positions  distinct.) 

2.  Neck  grasp  forward  walk  standing  backward  moving  of  head  with 

chest  expansion.     (On  signal  three  times  each  side.) 

3.  "Jackknife    dive."       ((1)     Bend    sharply     from    hips    and    try    to 


PROGRESSION  OF  GYMNASTIC  LESSONS  211 

touch  floor,  with  straight  upper  back;  (2)  straighten  up  with 
arm  flinging  overhead;  (3)  arm  flinging  sideways-downward.) 
(Even  rhythm.) 

4.  Arm    bending    with    alternate    foot    placing    sideways,    and    trunk 

twisting  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  moderate  rhythm ;  all  movements  quick ;  positions  held  a 
moment.) 

5.  Hip  grasp  standing  knee  upward  bending  left  and  right.      (Slow 

rhythm.     Unexpected  changes.) 

6.  Arm    bending    and    stretching    upward    and    sideways.       (Even 

rhythm.) 

7.  Neck  grasp  standing  forward  bending  of  trunk  45°.      (Slow,  re- 

strained movement  with  straight  back,  head  erect,  chin  in.  On 
signal  four  to  five  times.) 

8.  Hip   grasp   standing   position   on   one    foot,   the   other   raised   side- 

ways:  cut-step  sideways.  (Moderate  rhythm;  high  leg  flinging 
sideways.) 

9.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head. 

III.  Apparatus  work,  etc.     ) 

TIT-      r>  r    or  game. 

IV.  Run,  etc.  ) 

Lesson  6. 

I.     Marching  as  before. 

II.     1.    Forward    walk    standing    arm    flinging    sideways,    palms    up,    with 
heel  raising.     (Rhythmic.) 

2.  Hip  grasp  standing  alternate  toe  touching  sideways  with  opposite 

knee  bending.  (Moderate  rhythm;  quick  movements;  positions 
distinct.) 

3.  Arm  bend   standing   slow   arm   stretching   upward   with   backward 

moving  of  head  and  chest  expansion.  (On  signal  four  to  six 
times.) 

4.  Neck  grasp  standing  stooping   (and  return),  alternating  with  arm 

stretching  downward. 

5.  Hip    grasp    stride    standing    alternate    side    bending     (two    counts 

each  way).  (On  signal  one  round,  then  in  slow  rhythm;  slow, 
complete  bending  exactly  in  side  plane ;  move  hips  in  opposite 
direction.) 

6.  Arm  bending  and  stretching  forward.      (On  signal  once  or  twice 

to  get  correct  position :  hands  at  least  shoulder  distance  apart, 
chest  well  out  between  arms,  shoulders  low ;  then  in  even 
rhythm.) 

7.  Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alter- 

nating with  arm  stretching  sideways  (three  counts).  On  signal 
one  round,  then  in  moderate,  even  rhythm  ;  all  movements  quick ; 
positions  held.) 

8.  Hip  grasp   standing  jumping  on  toes   with    foot  placing   sideways, 

alternating  with  leg  flinging  forward  left  and  right  and  alternate. 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  /. 

I.  Alignment  on  one  rank  (or  two  ranks  six  to  eight  steps  apart). 
"Squads  right  and  left"  as  done  by  front  rank  only.  From  halt 
first,  later  while  marching. 


212  GYMNASTIC  TEACHING 

II.     1.    Arm    forward    bend    standing    arm    flinging    sideways    with    heels 
raising.     (Rhythmic.) 

2.  Alternate  side  lunge  with  hands  on  hips.     (On  signal  one  round, 

then  in  slow  rhythm;  quick  movements.) 

3.  Arms   overhead    standing   backward   moving   of    head    (and   arms, 

if  possible)  with  chest  expansion.  (On  signal  three  or  four 
times.  Stimulate  class  to  utmost  effort.  No  real  return  move- 
ment, only  slight  yielding.) 

4.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward- 

downward  bending  (as  far  as  possible  with  straight  upper 
back).  (On  signal  one  round,  then  in  moderate,  even  rhythm: 
first,  third  and  fourth  counts  distinctly  held,  but  not  second  count.) 

5.  Arm  bend   oblique   walk  twist    standing   arm   stretching   sideways. 

(Even  rhythm.) 

6.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.     (Rhyth- 

mic.    Change  unexpectedly.) 

7.  Arms  side-horizontal  toe  standing  march  steps  forward  and  back- 

ward  (on  counts  for  each  step).     (Varied  intervals.) 

8.  Hip  grasp  standing   jumping   on   toes   with    foot   placing   sideways 

and  crossing  of  feet  on  return  jump.      (Rhythmic.) 

9.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  8. 

I.     Marching  as  before.     Add  "Squads  right  and  left  about  march." 
II.     1.    Arm    bend    standing    arm    stretching    upward    with    alternate    foot 
placing  sideways.     (On  signal  one  round,  then  in  slow  rhythm; 
quick  movements.) 

2.  Arm  flinging  forward  with  knee  bending,  heels  off.     (Rhythmic.) 

3.  Forward   walk   standing   low   arm   circling,   palms   up,   with   back- 

ward moving  of  head  and  chest  expansion.  (On  signal  three 
times  each  side:  first  count  fairly  quick,  second  slow.) 

4.  Arm  bend  n'idc  stride  standing  downward  bending,  touching  floor 

(knees  and  upper  back  straight),  alternating  with  arm  stretching 
sideways.  (On  signal  once,  then  in  fairly  quick  rhythm.) 

5.  Alternate    foot   placing   sideways   with   hands   on   neck,   and   trunk 

twisting  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  moderate  rhythm;  all  movements  quick;  positions  distinct.) 

6.  Alternate   oblique   charge   with    (placing)    hands    on    hips.      (On 

signal  until  majority  get  correct  position,  then  in  slow  rhythm. 
Try  for  utmost  speed  in  the  movement.  Check  momentum.  Put 
foot  down  lightly  on  going  movement,  mark  return  movement 
by  clicking  heels.) 

7.  Stride    standing    alternate    side    bending    (two    counts    each    way) 

with  opposite  arm  flinging  sideways-overhead.  (Fairly  slow 
rhythm;  arm  movement  quick,  striking  thigh  on  return.) 

8.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward: 

cut-step  backward- forward.  First  stop  to  change.  Then  "break" 
(by  foot  placing  sideways)  and  change  on  every  seventh  and 
eighth  count. 

9.  Arm    bend    standing    slow    arm    stretching    upward    with    backward 

moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 


PROGRESSION  OF  GYMNASTIC  LESSONS  213 

Lesson  p. 

I.     Marching.      "Squads   right   and   left"   as   done   by   rear   rank.      First 

from  halt,  then  while  marching. 

II.     1.    Arm   bend   forward   walk   standing   arm   stretching   sideways   with 
heel  raising.     (Rhythmic.) 

2.  Alternate   foot  placing  sideways  with  hands  on  hips,  and   (quick) 

knee  bending.  (On  signal  one  round,  then  in  slow  rhythm; 
quick  movements.) 

3.  Arm  bending  and  stretching  upward  and  sinking  sideways-down- 

ward (three  counts)  with  backward  moving  of  head  (on  second 
count).  (Uneven  rhythm.) 

4.  Hip   grasp    standing   alternate    knee    upward    bending.      (Not    too 

quick  rhythm.  Knee  as  high  as  possible,  foot  well  forward.  No 
position  held.) 

5.  Arm   bend   stride    standing   alternate   trunk   twisting    (two   counts 

each  way),  alternating  with  arm  stretching  sideways.  (On  signal 
one  round,  then  in  moderate  rhythm ;  all  movements  quick ; 
position  held  a  moment.) 

6.  Alternate    forward   charge    with   hands    on    hips.      (See    oblique 

charge  in  preceding  lesson.) 

7.  Neck   grasp    stride    standing    side    bending    all    the    way.      (Slow 

rhythm ;  slow,  complete  movement  exactly  in  side  plane,  hips 
moving  in  opposite  direction.) 

8.  Hip  grasp   standing  jumping  on  toes  with   foot  placing  sideways, 

alternating  with  foot  placing  forward-backward.  (If  necessary 
on  signal  or  by  imitation  one  round,  then  in  rhythm.) 

9.  High  arm  circling  (two  counts)   with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work,  etc.    / 

IV.  Run.  I1    °rgame' 

Lesson  10. 

I.  Marching.  Alignment  on  two  ranks,  arm's  distance  plus  about  ten 
inches  apart.  "Squads  right  and  left"  complete,  by  both  ranks. 
At  first  practice  from  halt ;  later  while  marching. 

II.     1.    Arm  bend  stride  standing  arm  stretching  sideways  with    (quick) 
knee  bending.      (Rhythmic.) 

2.  Hip  grasp   standing   alternate   heel-and-toe    raising.      (Rhythmic.) 

3.  Arms    overhead    standing    arm    parting    (to    arms    side-horizontal, 

palms  up)  with  backward  moving  of  head  and  chest  expansion. 
(On  signal  four  to  five  times.) 

4.  Alternate    wide    foot    placing    sideways    with    hands    on    hips,    and 

downward  bending,  touching  floor  (knees  and  upper  back 
straight).  (On  signal  one  round,  then  in  moderate,  even 
rhythm.) 

5»  Neck  grasp  stride  standing  trunk  twisting  from  side  to  side,  alter- 
nating with  placing  hands  on  hips  (three-count  movement). 
(On  signal  one  round,  then  in  moderate  rhythm;  quick  move- 
ments.) 

6.  Hip     grasp     standing     alternate     leg     flinging     sideways.       (Slow 

rhythm.) 

7.  Touch  step  balance  march  (two  counts  each  step)  with  arm  fling- 

ing sideways.  (On  signal  a  round  or  two,  then  in  uneven 
rhythm :  first  count  quick,  second  slow  while  transferring 
weight.) 


214  GYMNASTIC  TEACHING 

8.  Arm  bend  standing  jumping  on  toes  with  arm  stretching  upward 

and  foot  placing  forward-backward  and  together.  (On  signal 
or  by  imitation  one  round,  if  necessary.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  n. 

I.     Marching  as  before.     Add  "Squads  left  and  right  about." 
II.     1.    Quick  high  arm  circling  (two  counts)  with  alternate  foot  placing 
sideways.      (Slow    rhythm;    movements    as    quick    as    possible; 
positions  held.) 

2.  Hip  grasp   standing   heel   raising   and   knee   bending   three-fourths 

way  down.     (Uneven  rhythm.) 

3.  Arm  bend   forward   walk   standing   slow  arm   stretching   sideways, 

palms  up,  with  backward  moving  of  head  and  chest  expansion. 
(On  signal  three  times  each  side.) 

4.  Hip  grasp  standing  alternate  leg  flinging  forward.     (Slow  rhythm. 

Settle  on  both  feet  each  time.  Swing  as  high  as  possible  without 
rising  on  toe.  Try  to  keep  knee  of  supporting  leg  straight. 
Head  and  trunk  erect  throughout.) 

5.  Alternate   oblique   foot  placing   forward-outward   with   hands   on 

neck,  and  trunk  twisting  (to  side  of  moved  foot).  (On  signal 
one  round,  then  in  moderate  rhythm;  all  movements  quick; 
positions  held.) 

6.  Toe-support     (reverse)     charge    with     (placing)     hands    on    hips. 

(On  signal  only,  at  first.  Later  in  slow  rhythm,  movements 
very  quick.) 

7.  Arm  bend  stride  standing  alternate  side  bending   (two  counts  each 

way),  alternating  with  arm  stretching  sideways.  (On  signal 
one  round,  then  in  slow,  uneven  rhythm :  first  and  second  counts 
slow,  third  and  fourth  quick.) 

8.  Standing  jump   upward   with   90°    turn    (on   descent).      (On    four 

counts:  (1)  rise  on  toes  with  arm  raising  forward;  (2)  jump 
with  arm  flinging  overhead,  landing  with  turn  and  knee  bending, 
hands  at  sides;  (3)  straighten  knees;  (4)  lower  heels.  Give 
four  to  six  times,  alternating  left  and  right.  Try  120°  turn.) 

9.  Arm  raising  sideways  with  backward  moving  of  head  and  breath- 

ing. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  12. 

I.     Marching  as  before.     Add  "Column  right  and  left." 

II.     1.    Arm    bend    standing    arm    stretching    upward    with    heel    raising. 
(Rhythmic.) 

2.  Alternate  toe  touching   forward   with  opposite  knee   bending  and 

placing  hands  on  hips.  (Moderate  rhythm;  quick  movements; 
positions  distinct.) 

3.  Arms   .side-horizontal    stride  twist   standing  turning  of  hands  with 

backward  moving  of  head  and  chest  expansion.  (On  signal 
three  times  each  side.) 

4.  Arm  bend   standing   stooping,  alternating   with   arm   stretching   up- 

ward (four  counts).  (On  .signal  once,  then  in  even,  fairly  quick 
rhythm.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  215 

5.  Alternate    foot    placing    sideways    with    hands    on    hips,    and    side 

bending  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  slow,  uneven  rhythm  :  first  and  fourth  quick,  second  and  third 
slow  and  full  range.) 

6.  Arm  bending  with  alternate  oblique  charge.      (On   signal  and  in 

slow  rhythm.) 

7.  Neck  grasp   stride   standing  alternate   trunk  twisting    (two  counts 

each  way),  alternating  with  arm  stretching  downward.  (On 
signal  one  round,  then  in  moderate  rhythm ;  all  movements 
quick;  positions  held.) 

8.  Hip  grasp   standing   jumping   on   toes   with   alternate   leg   flinging 

forward.  (The  leg  flinging  may  be  done  either  on  the  first  or 
the  second  jump.  Each  jump  is  made  from  both  feet  and  feet 
together.) 

9.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  13. 

I.     Marching  as  before. 

II.  1.  Low  arm  circling,  palms  up,  with  knee  bending,  heels  off.  (Rhyth- 
mic.) 

2.  Alternate    foot    placing    sideways    with    hands    on    hips,    and    heel 

raising.  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements;  positions  held  with  weight  equally  on  both  feet.) 

3.  Arms  side-horizontal   (palms  up)   standing  arm  raising  with  back- 

ward moving  of  head  and  chest  expansion.  (On  signal  four  to 
five  times.) 

4.  Neck  grasp  stride  standing  forward-downward  bending   (as  far  as 

possible  with  straight  upper  back),  alternating  with  placing  hands 
on  hips.  (On  signal  once,  then  in  moderate,  even  rhythm.) 

5.  One   hand  on  hip   standing   leg   flinging   sideways,   left   and   right, 

with   opposite   arm   flinging   sideways-upward.  (Slow    rhythm; 

quick  full  range  movements,  down-stroke  as  vigorous  as  up- 
stroke.) 

6.  Alternate  forward  charge  with  hands  on  neck.  (On  signal  and 

in  slow  rhythm;  movements  as  quick  as  possible.) 

7.  Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alter- 

nating with  arm  stretching  upward  (three  count  movement). 
(On  signal  one  round,  then  in  moderate  rhythm;  all  movements 
quick.) 

8.  Crouching  start  and  running  in  place  with  knee  upward  bending. 

Halt  on  two  counts. 

9.  Arm   bend   standing    slow   arm    stretching    upward    witli    backward 

moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  14. 

I.     Marching.     Review. 

II.  1.  Arm  flinging  sideways-upward  with  alternate  foot  placing  for- 
ward. (On  signal  one  round,  then  in  slow  rhythm;  quick  move- 
ments.) 

•2.    Hip  grasp  standing  heel   raising  and  knee  bending  first  half-way, 
then  all  the  way  down.     (Uneven  rhythm  at  once.) 


216  GYMNASTIC  TEACHING 

3.  Twist    standing    high   arm   circling    (two   counts)    with   backward 

moving  of  head  and  chest  expansion.     (On  signal  three  times 
each  side.) 

4.  Arm  forward  bend  ivide  stride  standing  downward  bending,  touch- 

ing  floor    (and  return),  alternating  with  arm   flinging   sideways. 
(On  signal  once,  or  immediately  in  even,  fairly  quick  rhythm.) 

5.  Alternate    foot   placing    forward   with   hands   on   neck,   and   trunk 

twisting.     (On  signal  one  round,  then  in  moderate  rhythm;  all 
movements  quick;  positions  distinctly  held.) 

6.  Arm  bending   with  alternate  toe-support    (reverse)    charge.      (On 

signal  and   in  slow   rhythm ;   movements  very   quick ;    positions 
held  long.) 

7.  Neck  grasp  standing  alternate  knee  upward  bending. 

8.  Hip   grasp   standing   jumping   on   toes   with   alternate   leg   flinging 

sideways.     (See  lesson  12,  exercise  8.) 

9.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work. 

TW          TD 

IV.  Run. 


Scries  IV. 
High  School  Girls.    Second  Year. 

Lesson  i. 

I.  Alignment  on  one  or  two  ranks.  Line  marching.  Review  "to  the 
rear  march,"  stopping  on  first  count  a  few  times.  Also  "by  the 
left  and  right  flank  march."  Open  order  by  forward  and  back- 
ward steps.  Two  count  facings  in  slow  rhythm. 

II.     1.    Arm    bending    with    alternate     foot    placing    sideways.       (Slow 
rhythm;  quick  movements.) 

2.  Arm  flinging  forward  with  knee  bending,  heels  off.     (Rhythmic.) 

3.  Arm  flinging  sideways,  palms  up,  witli  backward  moving  of  head. 

(Rhythmic.) 

4.  Hip  grasp  standing  knee  upward  bending  left  and  right.     Change 

without  stop. 

5.  Stride  standing  "paddling."     (See  Series  II,  lesson  3.) 

6.  Arm  bending  and  stretching  sideways  and  downward.     (Even  and 

uneven  rhythm.) 

7.  Neck  grasp  standing   forward  bending  of  trunk  45°.      (Slow,   re- 

strained movement  from  hips,  back  straight,  head  and  elbows 
well  back,  chin  in.  On  signal  four  to  five  times.  Hold  the 
forward  bent  position  while  inspecting  and  attending  to  details.) 

8.  Jumping  on  toes  with   foot  placing  forward-backward  and  oppo- 

site arm  flinging  forward-backward. 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Organize   class   in   squads    for   progressive   apparatus   work   and   com- 

petitive activities.  In  the  apparatus  work  review  most  of  the 
exercises  done  the  previous  year,  especially  the  representative 
types  and  such  as  can  be  done  by  pupils  in  rapid  succession  or 
several  at  a  time,  thus  making  the  review  progression  as  rapid 
as  possible. 

IV.  Run,  march;  toe  march;  breathing  exercise. 


PROGRESSION  OF  GYMNASTIC  LESSONS  217 

Lesson  2. 

I.     Marching  as  before.     Review  marking  time  and  half  step  forward 
and  backward  from  halt  and  while  marching.     Open  order  as 
before.    Right,  left  and  half  facings  in  one  quick  movement. 
II.     1.    Arm  flinging  sideways  with  heel  raising.     (Rhythmic.) 

2.  Hip  grasp  stride  standing  alternate  knee  bending.     (Rhythmic.) 

3.  Forward   bending   and    side   flinging   of   arms   and   slow    sinking 

(three  counts)  with  backward  moving  of  head  on  second  count. 
(On  signal  once,  then  in  uneven  rhythm:  first  and  second  quick, 
third  slow.) 

4.  Neck  grasp  stride  standing  forward-downward  bending.     (On  sig- 

nal four  to  five  times.) 

5.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.     Change 

without  stopping. 

6.  Arm  bending  and  stretching  upward  and  downward.      (Uneven 

rhythm.) 

7.  Neck  grasp  stride  standing  trunk  twisting  from  side  to  side.     (Slow 

rhythm ;  quick  movements ;  positions  held  fairly  long.) 

8.  Hip  grasp  standing  toe  jumping  alternately  to  left  and  right   (feet 

together). 

9.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  j. 

I.     Marching.     Review  oblique  marching.     Open  order  as  before. 
II.     1.    Arm  bend   stride   standing   arm   stretching   sideways   with    (quick) 
knee  bending.     (Rhythmic.) 

2.  Hip   grasp    standing   quick    side    stepping    alternately    to    left    and 

right  with  rising  on  toes  as  weight  is  shifted.     (Rhythmic.) 

3.  Neck  grasp  standing  backward  moving  of  head  with  chest  expan- 

sion.    (On  signal  four  to  five  times.) 

4.  Arm  bend  stride  standing   forward-downward  bending,  alternating 

with  arm  stretching  downward.  (On  signal  once,  then  in  mod- 
erate, even  rhythm.) 

5.  Hip  grasp  standing  side  bending  all  the  way  from  one  side  to  the 

other.     (Slow  rhythm;  slow,  full  range  movement.) 

6.  Arm    bending   and    stretching   upward    and    sideways.      (Uneven 

rhythm.) 

7.  Arm    bending    with    alternate    foot    placing    sideways,    and    trunk 

twisting  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  moderate  rhythm;  all  movements  quick;  positions  held.) 

8.  Hip  grasp   standing  jumping  on  toes  with   alternate  knee  upward 

bending   (on  every  other  jump — either  first  or  second). 

9.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  4. 

I.     Marching    as    before.      Rapid    changes.      Open    order    by    quick   one 

count  facing  left   (or  right)   followed  by  quick  side  steps. 
II.     1.    Low  arm  circling,  palms  up,  with  heel   raising.      (Rhythmic.) 
2.    Alternate  foot  placing  sideways  witli  hands  on  hips,  and    (quick) 
knee  bending.     (On  signal  one  round,  then  in  moderate  rhythm.) 


218  GYMNASTIC  TEACHING 

3.  Arm  bending  and  stretching  sideways,  palms  up,  and  slow  sinking 

(three  counts)  with  backward  moving  of  head  on  second  count. 
(On  signal  once,  then  in  uneven  rhythm:  first  and  second  quick, 
third  slow.) 

4.  Hip  grasp  standing  leg   flinging   forward  left  and  right.     Change 

without  stopping, 

5.  Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alter- 

nating with  arm  stretching  downward.  (On  signal  and  in 
moderate  rhythm.) 

6.  Neck  grasp  forward  walk  standing  forward  bending  of  trunk  45°. 

(On  signal  three  times  each  side;  slow,  restrained  movement.) 

7.  Arm   bending   and   stretching   upward,   sideways   and    downward. 

(Uneven  rhythm.) 

8.  Hip   grasp   standing   position   on   one    foot,   the   other    raised    side- 

ways: cut-step  sideways.     (Rhythmic.) 

9.  High  arm  circling   (two  counts)    with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work,  etc.    ) 

IV.  Run.  I" 


or  game. 


Lesson  5. 

I.     Marching.      Review   "Squads   right  and   left"   as   done   by    front   and 

rear  ranks,  respectively. 

II.  1.  Arm  bend  standing  arm  stretching  sideways  with  alternate  foot 
placing  forward.  (On  signal  once,  then  in  slow  rhythm;  quick 
movements.) 

2.  Alternate  toe  touching  sideways  witli  opposite  knee  bending  and 

placing  hands  on  hips.      (Try  at  once  in  moderate  rhythm.) 

3.  Arms  overhead  standing  "stretching."      (Imitation  and  on  signal.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  side- 

ways.    (Try  at  once  in  moderate,  then  fairly  quick  rhythm.) 

5.  Hip  grasp  standing  alternate  leg  flinging  sideways.      (Rhythmic.) 

6.  Arm  bending  and  stretching  forward. 

7.  Alternate    foot   placing   sideways   with   hands   on   neck,   and   trunk 

twisting.      (Moderate  rhythm;  all  movements  quick.) 

8.  Jumping   on   toes    with   arm    flinging    sideways-upward   and    foot 

placing  sideways  and  with  crossing  of  feet  on  return  jump. 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  6. 

I.     Marching.     "Squads  right  and  left"  complete,  by  both  ranks. 
II.     1.    Arm    bending   with    alternate    side    lunge.      (On    signal    once,    or 
immediately  in  slow  rhythm;  quick  movements.) 

2.  Hip  grasp  standing  alternate  heel-and-toe  raising.      (Rhythmic.) 

3.  Arm  raising  sideways-upward  with  backward  moving  of  head  and 

chest  expansion.      (On  signal  four  to  six  times.     Hands  turn  as 
arms  pass  shoulder  level,  without  stopping.) 

4.  Alternate   foot  placing  sideways  with  hands  on  hips,  and   forward- 

downward  bending.      (On   signal   once,   then   in   moderate,   even 
rhythm.) 

5.  Arm    bend    stride    standing    alternate    trunk    twisting    (two    counts 

each  way),  alternating  with  arm   stretching  sideways.      (On   sig- 
nal once,  then  in  moderate  rhythm;  all  movements  quick.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  219 

6.  Hip  grasp  standing  alternate  knee  upward  bending.      (Rhythmic.) 

7.  Arm  bending  and  stretching  one  sideways,  the  other  downward. 

(On  signal  one  round,  then  in  even  rhythm.) 

8.  Alternate  oblique  charge  with  hands  on  hips.      (On  signal   one 

round,  then  in  slow  rhythm;   quick  movements.) 

9.  Arm  bend   standing  slow  arm   stretching  upward   with  backward 

moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  7. 

I.     Marching.     "Squads  right  and  left  about." 

II.  1.  Arm  bend  standing  arm  stretching  upward  with  heel  raising. 
(Rhythmic.) 

2.  Low  arm  circling,  palms  up,  with  knee  bending,  heels  of?.    (Rhyth- 

mic.) 

3.  Neck  grasp  forward  walk  standing  backward  moving  of  head  with 

chest  expansion.     (On  signal  three  times  each  side.) 

4.  Arm  bend  wide  stride  standing  downward  bending,  touching  floor 

(knees  and  upper  back  straight),  alternating  with  arm  stretching 
sideways.     (Try  in  fairly  quick  rhythm  at  once.) 

5.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 

forward.      (On   signal  one   round,   then  in  slow  rhythm;   quick 
movements;  stop  unexpectedly  on  third  count.) 

6.  Stride  standing  alternate  side  bending  (two  counts  each  way)   with 

opposite  arm   flinging   sideways-overhead.      (Moderate   rhythm; 
quick  arm  movement.) 

7.  Arm  bending  with  alternate  oblique  foot  placing  forward-outward, 

and  trunk   twisting    (to   side  of   moved    foot).      (On   signal   one 
round,  then  in  moderate  rhythm;  all  movements  quick.) 

8.  Arm  bend  standing  jumping  on  toes   with   foot   placing   forward- 

backward    (and  together)   and  arm  stretching  upward. 

9.  Backward  moving  of  head  with  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  S. 

I.     Marching  as  before.    Add  "Column  right  and  left"  when  in  a  column 

of  squads. 

II.  1.  Arm  forward  bend  standing  arm  flinging  sideways  with  alternate 
foot  placing  forward.  (Try  at  once  in  slow  rhythm;  quick 
movements.) 

2.  Hip  grasp   standing  heel   raising  and  knee   bending  half-way   and 

three-fourths  way  down.      (Uneven  rhythm.) 

3.  Arms  side-horizontal   (palms  up)   standing  arm  raising  with  back- 

ward moving  of  head  and  chest  expansion.     (On  signal  four  to 
five  times.) 

4.  Arm  bending  with  alternate   foot   placing  sideways,  and   forward- 

downward  bending.      (On   signal   once,  then  in   moderate,   even 
rhythm.) 

5.  Neck    grasp    stride    standing    trunk    twisting    from    side    to    side, 

alternating   with    arm    stretching    downward.      (On    signal    one 
round,  then  in  moderate  rhythm  ;   all  movements  quick.) 

6.  Alternate  forward  charge  with  hands  on  hips.     (On  signal  and  in 

slow  rhythm.) 


220  GYMNASTIC  TEACHING 

7.  Arm  bending  and  stretching  one  upward,  the  other  downward. 

(On   signal  one  round,  then  in  even  rhythm.) 

8.  Hip  grasp   standing  position  on  one   foot,  the  other   raised   side- 

ways: cut-step  sideways  with  hop  and  turn.  (A  slight  bending 
of  knee  of  up-swinging  leg,  followed  by  "kick"  on  the  hop  and 
turn,  may  be  added.) 

9.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run  or  game. 

Lesson  9. 

I.     Marching  as  before.    Frequent  changes. 

II.  1.  Alternate  toe  touching  forward  with  opposite  knee  bending  and 
placing  hands  on  hips.  (Try  at  once  in  moderate  rhythm;  quick 
movements;  positions  held  a  moment.) 

2.  Arm  bending  with  alternate   foot  placing  sideways,  and  heel   rais- 

ing. (On  signal  once,  then  in  fairly  slow  rhythm;  quick  move- 
ments; positions  held.) 

3.  High  arm  circling  (three  counts)  with  backward  moving  of  head. 

(On  signal  once,  then  in  uneven  rhythm:  first  and  second  quick, 
third  slow.) 

4.  Arm   forward  bend  standing  stooping,  alternating  with  arm  fling- 

ing sideways.      (Start  at  once  in  fairly  quick  rhythm.) 

5.  One   hand  on   hip   standing   leg   flinging   sideways,   left   and   right, 

with  opposite  arm  flinging  sideways-upward.      (Rhythmic.) 

6.  Alternate    foot    placing    forward   witli   hands   on    neck,   and   trunk 

twisting.  (On  signal  once,  then  in  moderate,  rhythm;  quick 
movements.) 

7.  Alternate  toe-support  charge  with   (placing)   hands  on  hips.     (On 

signal  and  in  slow  rhythm;  quick  movements.) 

8.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward: 

backward  cut-step.  (Or  start  thus:  (1)  jump  on  left  foot,  rais- 
ing right  backward;  (2)  hop  on  left,  swinging  right  forward; 
(3)  jump  on  right  (cutting  left),  swinging  left  backward;  (4) 
hop  on  right,  swinging  left  forward.) 

9.  Arm   bend   standing   slow   arm   stretching   upward    with    backward 

moving  of  head  and  breathing. 

III.  Apparatus   work,   etc. 

IV.  Run. 

Lesson  10. 

I.  Marching.  "Platoons  column  right  and  left"  when  in  a  column  of 
squads.  From  line  of  platoons  "Squads  right  and  left"  to  column 
of  platoons. 

II.  1.  Alternate  side  lunge  witli  hands  on  neck.  (Slow  rhythm;  quick 
movements.) 

2.  Hip  grasj)  standing  heel  raising  with  turning  out  of  heels.     (Rhyth- 

mic.) 

3.  Anns    side-horizontal     forward    walk    standing    turning    of    hands 

with  backward  moving  of  head  and  chest  expansion.  (On  signal 
three  times  each  side.) 

4.  Alternate  foot  placing  sideways  with  hands  on  neck,  and   forward- 

downward  bending.  (On  signal  once,  then  in  moderate,  even 
rhythm.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  221 

5.  Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alter- 

nating with  arm  stretching  sideways.  (On  signal  one  round, 
then  in  even  rhythm.) 

6.  Hip  grasp  toe  standing  alternate  knee  upward  bending.      (Rhyth- 

mic.) 

7.  Arm   bending  and    stretching    forward,    upward   and   downward. 

(Uneven  rhythm.) 

8.  Alternate  oblique  leap  and  hop  with  arm  flinging  forward-upward 

on  same  side,  forward-downward  on  the  other.  (Rhythmic.) 
(Leap  high,  advancing  about  two  to  three  foot  lengths  each  time. 
Lean  well  over ;  try  to  have  high  arm,  body  and  rear  leg  in  line ; 
turn  head  toward  high  arm,  but  keep  shoulders  squarely  toward 
front.  Halt  on  second  count  with  feet  together.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  n. 

I.     Marching.     "Squads  right   (left)  platoons  column  right   (left)"  when 

in  line. 

II.  1.  Alternate  foot  placing  sideways  with  hands  on  neck,  and  heel 
raising.  (On  signal  once,  then  in  moderate  rhythm;  quick,  clean- 
cut  movements.) 

2.  Arm   bend   stride    standing   arm   stretching   upward    with    (quick) 

knee  bending.     (Rhythmic.) 

3.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  (simultaneous)  alternate  trunk  twisting.  (On  signal  six 
times.) 

4.  (1)    Arm  bending;    (2)     (double)    foot   placing   sideways    (zvide 

jump)  with  downward  bending,  touching  floor;  (3)  trunk  rais- 
ing with  arm  bending;  (4)  jump  to  fundamental  position.  (On 
signal  once  or  twice ;  then  in  rhythm,  at  first  slow,  gradually 
accelerating.) 

5.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  side  bend- 

ing. (On  signal  one  round,  then  in  slow,  uneven  rhythm:  first 
and  fourth  quick,  second  and  third  slow,  full  range  movements.) 

6.  Arm  bending  and  stretching  one  upward,  the  other  sideways.     (On 

signal  one  round,  then  in  even  rhythm.) 

7.  Alternate   oblique   charge   with   hands    on    neck.      (On    signal    if 

necessary,  then  in  slow  rhythm;  quick  movements.) 

8.  Hip    grasp    standing    jumping   on    toes    with    crossing    of    feet    on 

every  jump. 

9.  Low    arm   circling,    palms    up,    with    backward    moving    of    head 

and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  or  game. 

Lesson  12. 

I.  Marching.  "Left  (right)  front  into  line"  when  in  column  of  squads. 
Also  when  in  a  line  of  platoons.  (Leading  squad  takes  four 
steps  forward,  halting  on  fifth  count,  then  right  dress.  Follow- 
ing squads  march  left  oblique,  "squaring"  toward  front  succes- 
sively on  every  fifth  count,  halt  on  next  fifth  count  and  right 
dress.  When  all  squads  are  up  and  aligned,  the  manoeuvre  is 
completed  on  the  word  "Front!"} 


222  GYMNASTIC  TEACHING 

II.     1.    Hip  grasp  standing  heel  raising  and  knee  bending  half-way,  then 
all  the  way  down.     (Uneven  rhythm.) 

2.  Arm  bending  and   stretching  upward  and  sinking  sideways,  then 

downward  (four  counts)  with  backward  moving  of  head  on 
second  count.  (On  signal  once,  or  start  immediately  in  uneven 
rhythm  :  first  and  second  quick,  third  and  fourth  slow,  retaining 
"stretched"  position.  Turn  hands  on  fourth  count.) 

3.  Arm   bending   with   alternate    foot   placing   sideways    (u<idc    step), 

and  downward  bending  touching  floor  (knees  and  upper  back 
straight).  (On  signal  once,  then  in  fairly  quick  rhythm.) 

4.  Alternate  leg  flinging  sideways  with  opposite  arm   flinging  side- 

ways-upward.    (Rhythmic.) 

5.  Hip  grasp  standing  balance  march  with  knee  upward  bending  and 

stretching  forward-downward  (three  counts).  (On  signal  once 
or  twice,  then  in  slow,  uneven  rhythm  :  first  and  second  quick, 
third  slow,  transferring  weight  to  advanced  foot.) 

6.  Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alter- 

nating with  arm  stretching  upward  (three  counts).  (On  signal 
one  round,  then  in  moderate,  even  rhythm;  all  movements  quick 
and  clean-cut.) 

7.  Alternate   foot  placing  forward  with  hands  on  hips,  and   forward 

bending  of  trunk  45°.  (On  signal  one  round,  then  in  slow,  un- 
even rhythm  :  first  and  fourth  quick,  second  and  third  slow  and 
restrained.) 

8.  Hopping  twice  alternately  on  left  and  right  foot  with  arm  fling- 

ing sideways  and  knee  upward  bending  on  first  hop,  on  second 
swinging  arms  down  with  crossing  of  hands  while  raised  knee 
is  held  in  that  position. 

9.  Arm   bend   standing   raising  of  elbows   with   backward  moving   of 

head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  13. 

I.     Marching.     ''Left  and  right  by  squads"  and  "Platoons   left   and   right 

by  squads"  when  in  line. 

II.     1.    Arm     flinging    sideways-upward     with    knee    bending,    heels    off. 
(Rhythmic.) 

2.  Alternate  foot  placing  sideways  with  hands  on  neck,  and  backward 

moving  of  head  with  chest  expansion.  (Three-  or  four-count 
movement.  If  four,  the  third  is  a  "holding"  count — not  a 
"return"  movement.  On  signal  one  round,  then  in  slow,  uneven 
rhythm:  first  and  third  quick,  second  slow  and  sustained.  If 
four-count  movement  is  used  the  third  count  is  also  slow,  fourth 
quick.) 

3.  Arm   bend    .standing    forward-downward   bending,    alternating    with 

arm  stretching  sideways.  (On  signal  once,  then  in  moderate, 
even  rhythm.) 

4.  Alternate  side  charge  with    (placing)   hands  on  hips.      (On  signal 

one  round,  or  until  majority  get  correct  position,  then  in  slow 
rhythm;  movements  quick;  positions  held  relatively  long.) 

5.  Arm    bending    and    stretching   one    forward,    the    other    sideways. 

(On  signal  one  round,  then  in  even  rhythm.) 

6.  Hip  grasp  standing  alternate    (quick)    leg  circling   (forward-side- 

ways-downward  ) .      ( Rhythmic. ) 

7.  Alternate    oblique     loot    placing    with    hands    on    neck,    and    trunk 

twisting.      (On   signal   once,   then   in  moderate  rhythm.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  223 

8.  Standing   jump    backward   on    four    counts.      Like   standing    jump 

forward,  except  that  arms  swing  only  backward,  but  with  much 
force,  on  second  count.) 

9.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head. 

III.  Apparatus  work,  etc. 

IV.  Run. 

Lesson  14. 

I.     Marching.     Review. 

II.  1.  Arm  bending  and  stretching  sideways  with  heel  raising  and  knee 
bending.  (On  signal  once,  then  in  moderate,  even  rhythm;  quick 
movements.) 

2.  Arm   bend    forward   walk    standing    slow   arm    stretching    upward 

with  backward  moving  of  head  and  chest  expansion.  (On  sig- 
nal three  times  each  side.) 

3.  (1)   Placing  hands  on  hips;    (2)    (double)    foot  placing  sideways 

(wide  jump)  with  downward  bending,  touching  floor;  (3)  trunk 
raising  with  arm  flinging  sideways;  (4)  jump  to  fundamental 
position.  (On  signal  once  or  twice,  then  in  gradually  accelerat- 
ing rhythm.) 

4.  Neck  grasp  stride  standing  trunk  twisting  from  side  to  side,  alter- 

nating with  arm  stretching  upward.  (On  signal  one  round, 
then  in  moderate,  even  rhythm ;  all  movements  quick ;  positions 
held.) 

5.  Alternate  reverse  oblique  charge  with  hands  on  hips.     (On  signal 

and  in  slow  rhythm;  quick  movements;  positions  held  long.) 

6.  Arm  bending  and  stretching  sideways  with  alternate  knee  upward 

bending  and  stretching  forward.  (On  signal  one  round,  then 
in  slow  rhythm ;  all  movements  quick ;  positions  held.  Stop 
unexpectedly  on  third  count.) 

7.  Alternate    foot    placing    sideways    with    hands    on    neck,    and    side 

bending.  (On  signal  once,  then  in  slow,  uneven  rhythm :  first 
and  fourth  quick,  second  and  third  slow ;  restrained,  full  range 
movements.) 

8.  Jumping  on  toes  with  arm  flinging  sideways-upward  and  foot  plac- 

ing sideways  and  with  crossing  of  hands  and  feet  on  return 
jump.  (Rhythmic.  If  necessary  give  once  by  imitation.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run. 


or  game. 


Series  J7. 
High  School  Boys.     First  Year. 

Lesson  i. 

I.  Alignment  on  one  or  two  ranks.  Line  marching  and  halts.  About  fac- 
ing on  two  counts,  stopping  on  first.  "To  the  rear  march"  taught 
as  a  three-count  movement,  stopping  on  first.  Later  complete 
(See  Series  I,  lesson  2.)  Count  twos.  Open  order  by  forward 
and  backward  steps. 
II.  1.  Arm  bending  with  heel  raising.  (Rhythmic.) 

2.    Stride  standing  arm  flinging  sick-ways  with    (quick)    knee  landing. 
(Rhythmic.) 


224  GYMNASTIC  TEACHING 

3.  (1)    Placing  hands  on  top  of  head;    (2)    "stretching";    (3)    arm 

flinging  sideways-downward.  (On  signal  once,  then  in  uneven 
rhythm:  first  and  third  quick,  second  slow  and  powerful.) 

4.  Hip  grasp  standing  stooping  and  return  ( full  knee  bending,  touch- 

ing floor  between  feet,  straight  back),  alternating  with  arm 
stretching  downward.  (Rhythmic.) 

5.  Arm  bending  and  stretching  upward.     (Even  rhythm.) 

6.  Hip  grasp  standing  knee  upward  bending  left  and  right,  stopping 

to  change.  Later  change  without  stopping.  (Quick  up-and-down 
movement,  knee  as  high  as  possible,  foot  well  forward.  Settle 
on  both  feet  each  time  and  hold  position  a  moment,  making  rhythm 
slow.  Mark  time  as  foot  strikes.) 

7.  "Driving  stakes."  (See  Series  I,  lesson  6.) 

8.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  forward- 

backward.     (Rhythmic.) 

9.  Arm  bend  standing  raising  of  elbows  with  backward  moving  of  head 

and  breathing.  (On  signal  five  to  six  times,  approaching  slow 
breathing  rhythm.) 

III.  Organize  class  for  progressive  apparatus  work  and  competitive  squad 

activities. 

IV.  Run,  march  around,  partly  on  toes ;  breathing  exercise. 


Lesson  2. 

I.  Marching.  (If  marching  is  to  be  used  regularly,  the  progression  indi- 
cated in  Series  III  would  be  suitable,  with  or  without  modifica- 
tion.) 

II.     1.    Arm  flinging  forward  with  knee  bending,  heels  off.     (Rhythmic.) 

2.  Arm  bending  with  alternate  foot  placing  sideways.     (On  signal  and 

in  slow  rhythm;  quick  movements.) 

3.  Arm  flinging  sideways,  palms  up,  with  backward  moving  of  head. 

(Rhythmic.) 

4.  Hip   grasp    stride    standing    forward-downward   bending.      ( Fairly 

quick,  sweeping  movement  in  hips  and  lower  back,  going  as  far 
as  possible  with  upper  back  straight  and  head  well  back  with  chin 
in.  On  signal  four  to  five  times.  Do  not  hold  class  long  in  bent 
position.) 

5.  Arm    bending    and    stretching    sideways    and    downward.       (Even 

rhythm.) 

6.  Hip  grasp  stride  standing  side  bending  all  the  way  from  one  side 

to  the  other.  (Slow  rhythm;  slow,  full  range  movement  exactly 
in  side  plane.) 

7.  Arms   side-horizontal    standing    small    arm   circles.      (Fairly    quick 

rhythm :  movements  moderate  speed,  hands  making  continuous 
circles  about  ten  inches  in  diameter,  at  no  time  moving  in  front 
of  plane  of  shoulders.) 

8.  Crouching  start  and  running   in   place  with  knee  upward  bending. 

Halt  on  two  counts. 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.     Suspension  apparatus  work,  jumping,  vaulting,  etc.     (For  progression 
of  apparatus  work,  see  Appendix.) 

IV '.     Run,  etc. 


PROGRESSION  OF  GYMNASTIC  LESSONS  225 

Lesson  3. 
I.     Marching. 

II.     1.    Arm  flinging  sideways,  palms  up,  with  heel  raising.     (Rhythmic.) 

2.  Stride  standing  arm  bending  with  (quick)   knee  bending.     (Rhyth- 

mic.) 

3.  Neck  grasp  standing  backward  moving  of  head  with  chest  expan- 

sion. (On  signal  four  to  five  times.  No  real  "return"  movement, 
merely  a  slight  let-up  after  the  vigorous  "stretching"  effort.) 

4.  "Jackknife  dive."     (See  Series  III,  lesson  5.) 

5.  Arm  bend  stride  standing  quick  trunk  twisting  from  side  to  side. 

(Start  at  once  in  slow  rhythm,  holding  the  position  a  moment. 
Movement  should  take  place  only  above  hips,  which  are  kept 
steady  by  holding  knees  rigidly  straight.  Head  and  arms  should 
be  held  fixed.) 

6.  Hip  grasp  standing  leg  flinging   forward   left  and  right,  at   first 

stopping  to  change.     (For  details  see  Series  III,  lesson  3.) 

7.  Forward  bending  of  arms,  then  arm  flinging  sideways  and  down- 

ward.    (On  signal  once,  then  in  fairly  slow,  even  rhythm.) 

8.  Hip  grasp  standing  toe  jumping  alternately  to  left  and  right  (feet 

together). 

9.  High  arm  circling   (two  counts),  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  4. 
I.     Marching. 

II.     1.    Arm  flinging  sideways  with  knee  bending,  heels  off.     (Rhythmic.) 

2.  Alternate  foot  placing  forward  with  hands  on  neck.      (On  signal 

one  round,  then  in  slow  rhythm ;  quick  movements ;  positions  held ; 
weight  equally  on  both  feet.) 

3.  High    (quick)    arm    circling    with    backward    moving    of    head. 

(Three  counts:  forward-upward,  sideways,  with  palms  up,  and 
downward.  In  moderate,  even  rhythm;  clean-cut  movements.) 

4.  Arm  bend  stride  standing  forward-downward  bending   (at  least  to 

horizontal,  if  possible  beyond,  but  with  straight  upper  back  and 
head  in  good  position),  alternating  with  arm  stretching  down- 
ward. (On  signal  once,  or  start  immediately  in  moderate  even 
rhythm.) 

5.  Hip  grasp  standing  leg   flinging  sideways   left   and   right.      (First 

stop  to  change,  later  change  without  stopping.  Taught  as  leg 
flinging  forward.) 

6.  Arm    bending    and    stretching    upward    and    downward.       (Even 

rhythm.) 

7.  Standing  jump  forward  on  four  counts.      ((1)    Rise  on  toes  with 

arm  raising  forward ;  (2)  swing  arms  quickly  backward  and  for- 
ward-upward, jumping  at  the  same  time,  landing  with  knee  bend- 
ing and  hands  at  sides;  (3)  straighten  knees;  (4)  lower  heels. 
On  signal  three  to  five  times.) 

8.  Hip  grasp  standing  jumping  on  toes   (feet  together)    in  moderate, 

quick  and  slow  rhythm. 

9.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work,  etc.      ) 

v    or  game. 

IV.  Run,  etc. 


226  GYMNASTIC  TEACHING 

Lesson  5. 
I.     Marching. 

II.     1.    Arm    bend    standing    arm    stretching    sideways    with    heel    raising. 
( Rhythmic. ) 

2.  Hip  grasp  u'idc  stride  standing  alternate  knee  bending.     (On  signal 

once,  or  try  immediately  in  slow  rhythm.     Fairly  slow  movement 
from  side  to  side  as  far  as  possible  without  raising  heel.) 

3.  Arm  raising  sideways-upward  with  backward  moving  of  head  (two 

counts).     Hands  turn  as  arms  pass  shoulder  level,  without  stop- 
ping.   Arms  well  back  throughout.     (On  signal  five  to  six  times.) 

4.  Arm  bend   standing   stooping    (and   return),   alternating   with   arm 

stretching    downward.      (On    signal    once,    then    in    fairly    quick 
rhythm.) 

5.  Neck  grasp   stride   standing    (quick)    trunk  twisting   from   side  to 

side.      (Rhythmic.) 

6.  Hip  grasp  standing  knee  upward  bending  left  and  right.     (Unex- 

pected changes.) 

7.  Arm  bending  and  stretching  upward  and  sideways.     (Even  rhythm.) 

8.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways  and 

turning  45°  on  each  jump.     Continue  turning  one  way  180°,  then 
the  other  way. 

9.  Low  arm  circling,  palms  up,  with  backward  moving  of  head. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  6. 
I.     Marching. 

II.     1.    High  (quick)   arm  circling  (two  counts),  with  alternate  toe  touch- 
ing sideways.      (Moderate  rhythm;  clean-cut  movements.) 

2.  Hip  grasp  standing  heel  raising  and  knee  bending   (four  counts). 

(Moderate,  even  rhythm;  movements  quick;  each  position  held  a 
moment.) 

3.  Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with 

backward  moving  of  head  and  chest  expansion.     (On  signal  five 
to  six  times.) 

4.  "Chopping  down  a  tree."      (See  Series  I,  lesson  1.) 

5.  Hip  grasp  standing  leg   flinging   forward  left  and  right.      (Unex- 

pected changes.) 

6.  Arm    bending    and    stretching    upward,    sideways    and    downward. 

(Even  rhythm.) 

7.  Arm  bend   standing    forward   bending   of   trunk   45°.      (Slow,    re- 

strained movement  at  hips;  back  straight,  head  high  with  chin  in. 
On  signal  four  to  five  times.) 

8.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways  and 

crossing  of  feet  on  return  jump.      (Rhythmic.) 

9.  Arm  raising  sideways  with  backward  moving  of  head  and  breath- 

ing 

III.  Apparatus  work.  etc. 

IV.  Run,  etc. 


I.     Marching. 

II.     1.    Low    (quick)    arm  circling,   palms   up,   with   heel   raising.      (Rhyth- 
mic. ) 

2.    Hip  grasp   standing  alternate   toe  touching   sideways   with   opposite 
knee  bending.      (Moderate   rhythm;   quick,  clean-cut   movements.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  227 

3.  Neck  grasp  forward  walk  standing  backward  moving  of  head  with 

chest  expansion.  (See  lesson  3,  exercise  3.  On  signal  three  times 
each  side.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  side- 

ways. (On  signal  once,  or  start  immediately  in  fairly  quick 
rhythm.) 

5.  Hip  grasp   stride   standing   side  bending    (two  counts   each   way).. 

(On  signal  one  round,  then  in  slow  rhythm;  movements  slow,  full 
range,  hips  moving  in  opposite  direction ;  head  kept  steady  in 
fundamental  position.) 

6.  Arm  bending  and  stretching   forward.      (On  signal  once  or  twice 

to  get  correct  position :  hands  at  least  shoulder  distance  apart, 
chest  high,  back  flat,  shoulders  low.  Repeat  in  even  rhythm.) 

7.  Neck  grasp  stride  standing  trunk  twisting  from  side  to  side,  alter- 

nating with  arm  stretching  downward  (three  counts).  (On  sig- 
nal one  round,  then  in  moderate,  even  rhythm ;  all  movements 
quick;  positions  held  a  moment.) 

8.  Hip  grasp   standing  jumping  on  toes  with   foot  placing  sideways, 

alternating  with  knee  upward  bending  left  and  right  and  (later) 
alternate.  (Rhythmic.) 

9.  High  arm  circling    (two  counts)    with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  8. 
I.     Marching. 

II.  1.  Arm  bend  standing  arm  stretching  sideways  with  alternate  foot 
placing  forward.  (On  signal  one  round,  then  in  slow  rhythm; 
quick  movements.) 

2.  Hip  grasp  standing  knee  bending,  heels  off.      (Rhythmic.) 

3.  Arm   bend   standing   slow  arm   stretching   upward   with   backward 

moving  of  head  and  chest  expansion.  (On  signal  five  to  six 
times.) 

4.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward- 

downward  bending  (as  far  as  possible  with  straight  upper  back). 
(On  signal  one  round,  then  in  moderate,  even  rhythm:  first, 
third  and  fourth  counts  held  a  moment,  but  at  end  of  second  count 
allow  rebound.) 

5.  Neck  grasp  forward  walk  standing  trunk  twisting  (to  side  of  for- 

ward foot).  (Moderate  rhythm;  quick  movement,  above  hips; 
head  and  elbows  kept  well  back;  six  to  eight  times  each  side.) 

6.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.     (Rhyth- 

mic.)     Change  unexpectedly. 

7.  Arm    bending    and    stretching    forward    and    downward.       (Even 

rhythm.) 

8.  Jumping  on  toes  with  foot  placing  sideways  and  arm  flinging  side- 

ways-upward (with  and  without  hand  clapping  and  striking 
thighs.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

IT  I.     Apparatus  work,  etc. 
IV*.     Run,  etc. 

Lesson  <}. 
I.     Marching. 
II.     1.    Arm  flinging  sideways-upward  with  heel   raising.      (Rhythmic.') 

2.    Alternate   side   lunge   with  hands  on  hips.      (On   signal   one   round, 


228  GYMNASTIC  TEACHING 

then  in  slow  rhythm ;  movements  quick ;  positions  held ;  knee 
well  out:  avoid  turning  toe  out  more  than  on  stationary  foot.) 

3.  Arm   bending   and   stretching   sideways,   palms   up,   with   backward 

moving  of  head,  then  slow  sinking.  (On  signal  once,  then  in 
slow,  uneven  rhythm:  first  and  second  quick,  third  slow.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  up- 

ward.    (On  signal  once,  then  in  fairly  quick  rhythm.) 

5.  Neck  grasp  stride  standing  side  bending  all  the  way  from  one  side 

to  the  other.  (Slow  rhythm;  slow,  full  range  movement  exactly 
in  side  plane;  head  and  elbows  well  back.) 

6.  Hip   grasp   standing   alternate   knee   upward   bending.      (Moderate 

rhythm ;  quick  up-and-down  movement ;  knee  as  high  as  possible, 
foot  vertically  under  knee  ;  no  position  held  ;  head  and  trunk  erect ; 
mark  time  as  foot  strikes;  halt  on  two  counts.) 

7.  Arm  bend  stride  standing  alternate  trunk  twisting  (two  counts  each 

way),  alternating  with  arm  stretching  sideways.  (On  signal  one 
round,  then  in  moderate  rhythm;  all  movements  quick.) 

8.  Hip  grasp  standing  jumping  on  toes  with   foot  placing   sideways, 

alternating  with  foot  placing  forward-backward.  (On  signal  or 
imitation  one  round,  then  in  rhythm.) 

9.  Arm   bend   standing   slow   arm   stretching   upward   with   backward 

moving  of  head  and  breathing. 

III.  Apparatus  work,  etc.    ) 

T-ir      r>  -or  game. 

IV.  Run,  etc.  \ 

Lesson  10. 
I.     Marching. 

II.  1.  High  (quick)  arm  circling  (two  counts)  with  alternate  foot  plac- 
ing sideways.  (On  signal  one  round;  later  start  at  once  in  slow 
rhythm;  movements  quick;  positions  held.) 

2.  Hip   grasp   standing   heel   raising   and   knee   bending   three- fourths 

way  down  (four  counts).  (In  moderate  rhythm;  movements 
quick;  each  position  distinct.) 

3.  (1)    Placing  hands  on  neck;    (2)   backward  moving  of  head  with 

chest  expansion;  (3)  return  to  fundamental  position.  (On  signal 
once,- then  in  slow,  uneven  rhythm:  first  and  third  quick,  second 
slow  and  powerful.) 

4.  Arm  bend  ti-idc  stride  standing  downward  bending,  touching  floor 

(with  straight  knees  and  upper  back),  alternating  with  arm 
stretching  sideways.  (On  signal  once,  or  start  immediately  in 
fairly  quick  rhythm.) 

5.  Hip  grasp  standing  alternate  leg  flinging  sideways.     (Slow  rhythm; 

quick,  high  up-and-down  movement;  settle  on  both  feet  each  time 
and  hold  position  a  moment;  mark  time  as  foot  strikes.) 

6.  Arm    bending    and    stretching    forward,    upward    and    downward. 

(  Kven  rhythm. ) 

7.  Alternate  oblique  charge  with  (placing)  hands  on  hips.     (On  signal 

until  majority  get  correct  position:  three-foot  lengths  in  true, 
oblique  direction,  trunk  inclined  about  45°  and  in  line  ?i'///t  rear 
leii ;  shoulders  inclined  correspondingly,  but  faring  front;  knee 
of  advanced  leg  well  out  ;  rear  foot  firmly  on  floor.  Later  in  slow 
rhythm;  movements  as  quick  as  possible,  foot  striking  lightly  on 
"going"  movement,  clicking  heels  together  on  return.) 

8.  Arm   bend    standing    jumping  on   toes   with    foot    placing    forward- 

backward  and  together  and  simultaneous  arm  stretching  sideways. 
(On  signal  or  imitation  one  round,  then  in  rhythm.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  229 

9.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  II. 
I.     Marching. 

II.     1.    Arm    bend    standing    arm    stretching    upward    with    heel    raising. 
(Rhythmic.) 

2.  Alternate   foot  placing  sideways  with  hands  on  hips,  and   (quick) 

knee  bending.  (On  signal  one  round,  then  in  moderate  rhythm; 
quick  clean-cut  movements,  marking  each  position.) 

3.  Forward  walk  standing  low  arm  circling,  palms  up,  with  backward 

moving  of  head  and  chest  expansion.  (On  signal  three  times  each 
side.) 

4.  Arm  bending  with  alternate  wide  foot  placing  sideways,  and  down- 

ward bending,  touching  floor  (knees  and  upper  back  straight). 
(On  signal  once,  then  in  moderate,  even  rhythm.) 

5.  Neck  grasp  stride  standing  alternate  side  bending  (two  counts  each 

way),  alternating  with  arm  stretching  downward.  (On  signal  one 
round,  then  in  slow,  uneven  rhythm :  first  and  second  slow,  third 
and  fourth  quick.) 

6.  Hip   grasp   standing   alternate    leg   flinging    forward.      (Rhythmic. 

See  alternate  leg  flinging  sideways  in  preceding  lesson. ) 

7.  Arm    bending    and    stretching    upward,    sideways    and    downward. 

(Uneven  rhythm.) 

8.  Alternate  forward  charge  with  hands  on  hips.     (On  signal  until 

majority  get  correct  position,  then  in  slow  rhythm;  quick  move- 
ments. Advanced  foot  turned  straight  ahead,  rear  foot  at  right 
angles  to  it.  Trunk  inclined  45°,  in  line  with  rear  leg.) 

9.  Hip  grasp  standing  jumping  on  toes  with  crossing  of  feet  on  each 

jump.      (Rhythmic.) 

10.    Arm  raising  sideways-upward  with  backward  moving  of  head  and 
breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  12. 
I.     Marching. 

II.     1.    Low  (quick)   arm  circling,  palms  up,  with  knee  bending,  heels  off. 
(Rhythmic.) 

2.  Arms  side-horizontal   (palms  up)   standing  arm  raising  with  back- 

ward moving  of  head  and  chest  expansion.  (On  signal  five  to  six 
times.) 

3.  Arm  bend  standing  forward-downward  bending  (as  far  as  possible 

with  straight  upper  back),  alternating  with  arm  stretching  side- 
ways. (On  signal  once,  then  in  moderate,  even  rhythm.) 

4.  Alternate    foot   placing   sideways   with   hands   on   neck,   and   trunk 

twisting  (to  side  of  moved  foot).  (On  signal  once,  then  in 
moderate,  even  rhythm;  all  movements  quick.) 

5.  Hip  grasp   standing   position  on  one   foot,   the  other   knee   raised : 

change  with  a  jump.     (On  signal  six  times;  varied  intervals.) 

6.  Stride  standing  side  bending  (two  counts  each  way),  with  opposite 

arm  flinging  sideways-overhead.  (In  moderate  rhythm;  quick 
arm  movement,  well  back.  Avoid  twisting  and  forward  bending.) 

7.  Alternate  toe-support    (reverse)    charge  with  hands  on  hips.      (On 

signal  only,  at  first ;  later  in  slow  rhythm,  movements  very  quick. 
Position  like  forward  charge  position,  except  the  position  of  rear 
foot.) 


230  GYMNASTIC  TEACHING 

8.  Arm    bending    and    stretching    forward,    sideways    and    downward. 

(Uneven  rhythm.) 

9.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward : 

backward- forward  cut-step.  At  first  stop  to  change.  Later 
change  by  "break"  (foot  placing  sideways)  on  every  seventh  and 
eighth  count. 

10.    Arm   bend   standing   slow   arm   stretching   upward   with   backward 
moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  /j. 
I.     Marching. 

II.  1.  Ann  bend  standing  arm  stretching  upward  with  alternate  foot  plac- 
ing forward.  (On  signal  once,  then  in  fairly  slow  rhythm;  quick 
movements.) 

2.  Alternate   toe  touching   sideways   with   opposite   knee   bending   and 

placing  hands  on  neck.  (On  signal  if  necessary,  then  in  moderate 
rhythm.) 

3.  Twist  standing  low  arm  circling,  palms  up,  with  backward  moving 

of  head  and  chest  expansion.     (On  signal  three  times  each  side.) 

4.  Hip  grasp  standing   stooping,  touching   floor  alternately   with   left 

and  right  hand,  alternating  with  placing  hands  on  neck.  (On 
signal  once,  then  in  fairly  quick  rhythm.) 

5.  One  hand  on  hip  standing  leg  flinging  sideways  left  and  right  with 

opposite  arm  flinging  sideways-upward.  (Slow  rhythm;  quick 
up-and-down  movement  of  arm  and  leg,  holding  return  position  a 
moment;  weight  on  both  feet.) 

6.  Arm  bending   with   alternate   oblique   charge.      (On   signal   and   in 

slow  rhythm;   quick  movements;   positions  held   steady.) 

7.  Arm  bending  and  stretching  forward,  upward  and  sideways.     (Un- 

even rhythm.) 

8.  Hip  grasp   standing   jumping  on   toes   with    foot   placing   sideways, 

alternating  with  leg  flinging  forward  left  and  right  and  (later) 
alternate. 

9.  High   arm  circling    (two   counts)    with   backward   moving  of   head 

and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson   /./. 
I.     Marching. 

TT.  1.  Arm  flinging  sideways-upward  with  knee  bending,  heels  off. 
(Rhythmic.) 

2.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  heel  raising. 

(On   signal  one   round,  then   in   fairly   slow   rhythm.) 

3.  Arm  bending  and  stretching  upward  and  slow  sinking  sideways  and 

downward  (four  counts)  with  backward  moving  of  head  on 
second  count.  (On  signal  once,  then  in  uneven  rhythm:  first  and 
second  quick,  third  and  fourth  slow,  retaining  "stretched"  posi- 
tion. Turn  hands  on  fourth  count.) 

4.  Arm  forward  bend  liiilc  stride  standing  downward  bending,  touch- 

ing floor,  alternating  with  arm  flinging  sideways.  (On  signal 
once,  or  start  immediately  in  fairly  quick  rhythm.) 

5.  Alternate    foot    placing    forward    with    hands    on    neck,    and    trunk 

twisting  (to  side  of  moved  foot).  (On  signal  once,  then  in 
moderate,  even  rhythm;  all  movements  quick;  positions  held.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  231 

6.  Arm   bending   with    alternate    forward    charge.      (On    signal    and 

in  slow  rhythm ;  quick  movements ;  hold  position  steady  a 
moment.) 

7.  Neck  grasp  stride  standing  alternate  side  bending  (two  counts  each 

way),  alternating  with  arm  stretching  upward.  (On  signal  once, 
then  in  slow,  uneven  rhythm :  first  and  second  slow,  third  and 
fourth  quick.) 

8.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 

forward.  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements;  stop  unexpectedly  on  third  count.) 

9.  Arm  bend  standing  jumping  on  toes  with  foot  placing  sideways  and 

arm  stretching  alternately  upward  and  sideways. 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc.     ) 

r     or  game. 

IV.  Run,  etc. 


Scries  VI. 
High  School  Boys.    Second  Year. 

Lesson  i. 

I.     Alignment  and  marching,  open  order,  etc.,  as  in  Series  IV,  with  such 
modifications  as  may  seem  advisable. 

II.     1.    Arm  flinging  forward  with  knee  bending,  heels  off.      (Rhythmic.) 

2.  Arm  bending  and  stretching  sideways,  palms  up,  and  flinging  down- 

ward (three  counts),  with  backward  moving  of  head  on  second 
count.  (In  moderate,  even  rhythm;  quick,  clean-cut  movements.) 

3.  Hip  grasp  zi'ide  stride  standing  downward  bending,  touching  floor 

alternately  with  left  and  right  hand  (turning  head  and  shoulders 
in  opposite  direction).  .  (Moderate  rhythm.) 

4.  Arm    bending    and    stretching    upward    and    downward.       (Even 

rhythm.) 

5.  Hip  grasp  standing  knee  upward  bending  left  and  right.      (Slow 

rhythm.)     Change  without  stopping. 

6.  Stride  standing  side  bending  all  the  way  from  one  side  to  the  other 

with  opposite  arm  raising  sideways-upward.  (Moderate  rhythm. 
As  one  arm  swings  up,  the  other  hand  slides  down  to  knee  and 
helps  check  momentum.) 

7.  Neck  grasp   standing   forward  bending  of  trunk  45°.      (Slow,  re- 

strained movement  at  hips,  back  straight,  head  and  elbows  well 
back,  chin  in.  On  signal  four  to  six  times,  holding  the  bent 
position  while  inspecting  and  stimulating  class  to  get  correct 
form.) 

8.  Jumping  on  toes  with  foot  placing  forward-backward  and  opposite 

arm  flinging   forward-backward.      (Rhythmic.) 

9.  Arm  raising  sideways  with  backward  moving  of  head  and  breath- 

ing. 

III.  Organize   class    for  apparatus   work   and   competitive    squad    activities. 

Review  the  apparatus  work  of  the  first  year  and  progress  as  far 
as  possible  beyond. 

IV.  Run,  march  ;  breathing  exercise. 


232  GYMNASTIC  TEACHING 

Lesson  2. 
I.     Marching. 
11.     1.    Arm  flinging  sideways,  palms  up,  with  heel  raising.     (Rhythmic.) 

2.  Alternate  toe   touching   sideways   with  opposite   knee  bending  and 

placing  hands  on  hips.     (Moderate  rhythm;  clean-cut  movements.) 

3.  High  arm  circling   (two  counts)    with  backward  moving  of  head 

and  chest  expansion.  (On  signal  four  to  six  times.  Quick  up- 
stroke, slow  return,  retaining  "stretched"  position  and  turning 
hands  as  arms  pass  shoulder  level,  without  stop.) 

4.  Arm  bend   standing   stooping    (and   return),   alternating  with   arm 

stretching  downward.     (Start  at  once  in  fairly  quick  rhythm.) 

5.  Neck  grasp  stride  standing  trunk  twisting  from  side  to  side.     (In 

moderate  rhythm;  movements  quick;  positions  held  a  moment.) 

6.  Forward    bending   and    side    flinging   of    arms ;    return    in    reverse 

order.     (On  signal  once,  then  in  fairly  slow  rhythm.) 

7.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.     Change 

without  stopping. 

8.  Jumping  on  toes  with  foot  placing  sideways  and  arm  flinging  side- 

ways-upward.    (Rhythmic.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  j. 
I.     Marching. 

II.     1.    Stride   standing    low   arm   circling,    palms    up,    with    (quick)    knee 
bending.     ( Rhythmic. ) 

2.  Arm  bending  with  alternate  foot  placing  forward.     (On  signal  one 

round,  then  in  slow  rhythm ;  movements  quick ;  positions  held  rela- 
tively long;  weight  equally  on  both  feet.) 

3.  (1)    Placing  hands  on  neck;    (2)    backward  moving  of  head  with 

chest  expansion;  (3)  return  to  fundamental  position.  (On  signal 
once,  then  in  uneven  rhythm :  first  and  third  quick,  second  slow 
and  forcible.  Hands  move  close  to  the  body  both  ways.) 

4.  Arm  bend  stride  standing   forward-downward  bending    (as   far  as 

possible  with  straight  upper  back),  alternating  with  arm  stretching 
sideways.  (On  signal  once,  then  in  moderate,  even  rhythm.) 

5.  Hip   grasp   standing   alternate   knee   upward   bending.      (Moderate 

rhythm.  One  foot  goes  up  as  the  other  comes  down.  No  position 
held.  Knee  as  high  as  possible,  foot  well  forward.) 

6.  Arm  bending  and  stretching  upward.     (Uneven  rhythm.) 

7.  Hip  grasp  stride  standing  alternate  side  bending   (two  counts  each 

way),  alternating  with  arm  stretching  downward. 

(Uneven    rhythm:   first   and   second   slow,    full    range,   third   and 

fourth  quick. ) 

8.  Arm   bend    standing   jumping   on   toes   with    foot    placing    forward- 

backward  and  together  and  with  arm  stretching  sideways. 
(Rhythmic.) 

9.  Backward  moving  of  head  with  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  .;. 
I.      Marching. 

II.      1.    Ann    flinging    sideways,    palms    up,    with    knee    bending,    heels    off. 
(Rhythmic.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  235 

2.  Arm  bend   standing   slow  arm   stretching   upward   with   backward 

moving  of  head  and  chest  expansion.  (On  signal  five  to  six 
times.) 

3.  Hip  grasp  standing  leg  flinging  forward  left  and  right.     (Rhythmic. 

Change  without  stop.) 

4.  Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alternat- 

ing with  arm  stretching  sideways.  (On  signal  one  round,  then 
in  moderate  rhythm;  all  movements  quick;  positions  held.) 

5.  Neck  grasp  standing  forward-downward  bending  (as  far  as  possi- 

ble with  straight  upper  back).     (On  signal  four  to  five  times.) 

6.  Forward  bending  of  arms,  then  arm  flinging  sideways  and  down- 

ward (three  counts).  (On  signal  once,  then  in  moderate,  even 
rhythm.) 

7.  Standing  jump  sideways  (with  arm  flinging  to  same  side)   on  four 

(signal)   counts.     (Three  times  each  way.) 

8.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways  and 

crossing  of  feet  on  return  jump.     (Rhythmic.) 

9.  High  arm  circling    (two  counts)    with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run  or  game. 

Lesson  5. 
I.     Marching. 
II.     1.    Arm  flinging  sideways-upward  with  heel  raising.     (Rhythmic.) 

2.  Alternate   foot  placing  sideways  with  hands  on  hips,  and    (quick) 

knee  bending.      (On  signal  once,  then  in  moderate  rhythm.) 

3.  Arm  bending  and  stretching  obliquely  overhead  and  slow  sinking 

sideways-downward  (three  counts)  with  backward  moving  of 
head.  (On  signal  once,  then  in  uneven  rhythm:  first  and  second 
quick,  third  slow,  with  arms  well  back,  turning  hands  as  shoulder 
level  is  passed.) 

4.  Arm  bend  zvidc  stride  standing  downward  bending,  touching  floor 

(knees  and  upper  back  straight),  alternating  with  arm  stretching 
sideways.  (Start  at  once  in  fairly  quick  rhythm.) 

5.  Hip  grasp  standing  alternate  leg  flinging  sideways.      (Fairly  slow 

rhythm ;  settle  on  both  feet  each  time  and  hold  position  a  moment ; 
mark  time  as  foot  strikes.) 

6.  Arm    bending    and    stretching    forward    and    downward.       (Even 

rhythm.) 

7.  Neck  grasp   stride   standing  alternate   trunk  twisting    (two  counts 

each  way),  alternating  with  arm  stretching  sideways.  (On  signal 
one  round,  then  in  moderate,  even  rhythm;  all  movements  quick.) 

8.  Hip  grasp   standing   jumping   on   toes   with   knee   upward   bending 

left  and  right  and  (later)  alternate.  (Knee  is  raised  either  on 
first  or  second  jump.  The  latter  is  easier.) 

9.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  6. 
I.     Marching. 

II.     1.    High  (quick)  arm  circling  (two  counts)  with  alternate  foot  placing 
sideways.      (On   signal  once,  then  in  slow  rhythm;   quick  move- 
ments.) 
2.    Hip  grasp  standing  heel  raising  and  knee  bending  half-way  down 


234  GYMNASTIC  TEACHING 

(four  counts).  (In  moderate,  even  rhythm;  movements  quick; 
positions  held.) 

3.  Arm  bend   forward   walk  standing   slow  arm   stretching   sideways, 

palms  up,  with  backward  moving  of  head  and  chest  expansion. 
(On  signal  three  times  each  side.) 

4.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward- 

downward  bending  (as  far  as  possible  with  straight  upper  back). 
(On  signal  one  round,  then  in  moderate,  even  rhythm.) 

5.  Arm  bend  stride  standing  alternate  side  bending   (two  counts  each 

way),  alternating  with  arm  stretching  sideways.  (On  signal  once, 
then  in  uneven  rhythm  :  first  and  second  slow,  third  and  fourth 
quick. ) 

6.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 

forward.  (On  signal  one  round,  then  in  slow,  even  rhythm; 
movements  quick ;  positions  held ;  stop  unexpectedly  on  third 
count. ) 

7.  Arm    bending   and    stretching    upward    and    downward.      (Uneven 

rhythm. ) 

8.  Alternate    foot   placing   sideways   with   hands   on   neck,   and   trunk- 

twisting  (to  side  of  moved  foot).  (On  signal  once,  then  in 
moderate,  even  rhythm;  all  movements  quick  and  clean-cut.) 

9.  Hip  grasp  standing  toe  jumping  alternately  forward  and  backward 

(feet  together). 

10.    Arm  bend   standing   raising   of   elbows   with   backward   moving   of 
head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  /. 
I.     Marching. 

II.      1.    Arm  bend  forward  walk  standing  arm  stretching  sideways  with  heel 
raising.     (Rhythmic.) 

2.  Alternate   side   lunge   with    hands   on   neck.      (Slow   rhythm;    quick 

movements;  check  momentum  and  hold  position  a  moment.) 

3.  Arms  side-horizontal   (palms  up)   standing  arm  raising  with  1  lack- 

ward  moving  of  head  and  chest  expansion.  (On  signal  five  to  six 
times. ) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  side- 

ways. (On  signal  once,  or  start  immediately  in  fairly  quick 
rhythm. ) 

5.  Neck  grasp  stride  standing  side  bending  all  the  way  from  one  side 

to  the  other.      (In  slow  rhythm;  slow,   full  range  movement.) 

6.  Alternate    oblique    charge    with    hands    on    hips.      (On    signal    one 

round,  then   in   slow  rhythm;   quick  movements.) 

7.  Forward  walk  twist  standing  low  arm  circling,  palms  tip.     (Otiick, 

two-count  movement  in  moderate  rhythm;  positions  distinct.) 

8.  Arm   bending   and    stretching   one    sideways,   the   other    downward. 

(On  signal  one  round,  then  in  even  rhythm.) 

9.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward: 

backward-forward  cut-step  with  "break"  and  change  on  every 
seventh  and  eighth  count. 

10.    Arm    bend    standing    slow   arm    stretching    upward    with    backward 
moving  fit"  head  and  breathing. 

III.  Apparatus  work,  etc 

IV.  Run,  etc. 


PROGRESSION  OF  GYMNASTIC  LESSONS  235 

I.     Marching.  Lesson  8. 

II.  1.  Stride  standing  arm  flinging  sideways-upward  with  (quick)  knee 
bending.  (Rhythmic.) 

2.  Hip  grasp  standing  alternate  toe   raising.      (Rhythmic.) 

3.  Arm   bending   and    stretching    upward   and    sinking    sideways    and 

downward  (four  counts)  with  backward  moving  of  head  (on 
second  count).  (On  signal  once,  or  start  immediately  in  uneven 
rhythm :  first  and  second  quick,  third  and  fourth  slow.  Hands 
turn  on  fourth  count.) 

4.  Alternate  foot  placing  sideways  with  hands  on  neck  and  forward- 

downward  bending.  (On  signal  once,  then  in  moderate,  even 
rhythm.) 

5.  Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alter-  , 

nating  with  arm  stretching  sideways  (three  counts).  (On  signal 
one  round,  then  in  moderate,  even  rhythm.) 

6.  Alternate  forward  charge  with  hands  on  hips.     (On  signal  and  in 

slow  rhythm;  movements  quick;  positions  held.) 

7.  Stride  standing  alternate  side  bending  (two  counts  each  way)   with 

opposite  arm  flinging  sideways-upward.  (In  moderate  rhythm; 
arm  movement  quick.) 

8.  Hip  grasp  standing  alternate  leg  flinging  forward.     (Slow  rhythm; 

hold  position.) 

9.  Arm  bend   standing  jumping  on   toes   with    foot    placing   sideways 

and  arm  stretching  upward.     (Rhythmic.) 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

T      AT       u-  Lesson  9- 

i.     Alarcnmg. 

II.  1.  Arm  bend  standing  arm  stretching  sideways  with  alternate  foot 
placing  forward.  (On  signal  once,  or  start  immediately  in  fairly 
slow  rhythm.) 

2.  Hip  grasp  standing  knee  bending,  heels  off,  half-way  and  three- 

fourths  way  down.      (Rhythmic.) 

3.  Arms  overhead  standing  arm  parting  (to  side-horizontal,  palms  up) 

with  backward  moving  of  head  and  chest  expansion.  (On  signal 
five  to  six  times.) 

4.  Arm  bending  with  alternate  wide  foot  placing  sideways,  and  down- 

ward bending,  touching  floor.  (In  fairly  quick  rhythm,  but  hold- 
ing each  position,  except  the  second,  a  moment.) 

5.  One  hand  on  hip  standing  leg  flinging  sideways  left  and  right  with 

opposite  arm  flinging  sideways-upward.     (Slow  rhythm.) 

6.  Arm  bending  with  alternate  oblique  charge,  and  trunk  twisting  to 

same  side  (as  charge).  (On  signal  one  round,  then  in  slow,  even 
rhythm;  all  movements  quick.) 

7.  Arm  bending  and  stretching  one  upward,  the  other  downward.     (On 

signal  one  round,  then  in  even  rhythm. ) 

8.  Neck  grasp  standing  position  on  one   foot,  the  other  knee   raised  : 

change  with  a  jump.  (On  signal  five  to  six  times;  varied  inter- 
vals.) 

9.  Hip  grasp  standing  jumping  on  toes  with  crossing  of  feet  on  each 

jump.      (Rhythmic.) 

10.    Low  arm  circling,  palms  up,   with  backward  moving  of  head  and 
breathing. 

III.     Apparatus  work,  etc.      ) 

-    or  game. 
I\  .     Run,  etc.  \ 


236  GYMNASTIC  TEACHING 

Lesson  10. 
I.     Marching. 
II.     1.    Arm  Hinging  forward  with  heel  raising.     (Rhythmic.) 

2.  Neck  grasp  ivide  stride  standing  alternate  knee  bending.     (Slow 

rhythm  and  movement.) 

3.  Arm  raising  sideways  and  upward  and  sinking  sideways  and  down- 

ward (four  counts)  with  backward  moving  of  head  on  second 
count.  (On  signal  once,  then  in  slightly  uneven  rhythm:  third 
and  fourth  a  little  slower  than  first  and  second.  Hands  turn  on 
second  and  fourth  counts.) 

4.  Arm  forward  bend  standing  stooping,  alternating  with  arm  flinging 

sideways.  (On  signal  once,  or  start  immediately  in  fairly  quick 
rhythm.) 

5.  Alternate    foot    placing    forward   with   hands   on   neck,   and   trunk 

twisting  (to  side  of  moved  foot).  (On  signal  once,  then  in 
moderate  rhythm.) 

6.  Hip  grasp  toe  standing  alternate  knee  upward  bending.     (Rhyth- 

mic.) 

7.  One  hand  on  hip,  one  hand  on  neck  stride  standing  alternate  side 

bending  (to  side  of  lower  hand),  alternating  with  change  of  arm 
position  (three  counts).  (On  signal  one  round,  then  in  slow, 
uneven  rhythm:  first  and  second  slow,  third  quick.) 

8.  Arm  bending  with   alternate  toe-support    (reverse)    charge.      (On 

signal  and  in  slow  rhythm;  quick  movements.) 

9.  Jumping  on  toes  with  arm  flinging  sideways  and  foot  placing  side- 

ways and  with  crossing  bf  hands  and  feet  on  return  jump. 
(Rhythmic.  If  necessary  give  once  or  twice  on  signal  or  by 
imitation.) 

10.    High  arm  circling   (two  counts)   with  backward  moving  of  head 
and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  ii. 
I.     Marching. 

II.     1.    Arm  flinging  sideways-upward  with  alternate  foot  placing  forward. 
(On  signal  once,  or  start  immediately  in  slow  rhythm.) 

2.  Hip  grasp  standing  heel  raising  and  knee  bending  half-way  and  all 

the  way  down.     (Uneven  rhythm.) 

3.  Twist  standing  low  arm  circling,  palms  up,  with  backward  moving 

of  head  and  chest  expansion.     (On  signal  three  times  each  side.) 

4.  Neck  grasp  stride  standing  forward-downward  bending,  alternating 

with  placing  hands  on  hips.  (On  signal  once,  then  in  moderate, 
even  rhythm.) 

5.  Alternate   leg   flinging   sideways   with   opposite   arm   flinging   side- 

ways-upward. (Slow  rhythm;  quick  up-and-down  stroke;  settle 
on  both  feet  and  hold  position  a  moment.) 

6.  Arm  bending  with  alternate   forward  charge.      (On   signal  and  in 

slow  rhythm.) 

7.  Neck  grasp  stride  standing  trunk  twisting  from  side  to  side,  alter- 

nating with  arm  stretching  upward  (three  counts).  (On  signal 
one  round,  then  in  moderate  rhythm;  all  movements  quick.) 

8.  Standing  jump  backward  on   four  counts.      ((1)    Rise  on  toes  with 

arm  raising  forward;  (2)  jump  backward  with  arm  flinging  back- 
ward, landing  with  knee  bending  and  hands  at  .sides;  (3) 
straighten  knees  ;  (4)  lower  heels. ) 


237 

9.  Hip  grasp  standing  cut-step  backward.  ((1)  Jump  on  left  foot, 
raising  right  backward;  (2)  hop  on  left,  swinging  right  forward; 
(3)  jump  on  right,  "cutting"  left  and  raising  it  backward;  (4) 
hop  on  right  swinging  left  forward.  Use  imitation  one  round, 
then  start  in  rhythm.) 

10.   Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with 
backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  12. 
I.     Marching. 

II.     1.    Arm  bend  stride  standing  arm  stretching  upward  with  (quick)  knee 
bending.     (Rhythmic.) 

2.  Hip  grasp  standing  heel  raising  with  turning  out  of  heels. 

3.  (1)   Arm  flinging  sideways,  palms  up;    (2)    placing  hands  on  top 

of  head;  (3)  slow  arm  stretching  upward  with  backward  moving 
of  head;  (4)  slow  arm  sinking  sideways-downward.  (On  signal 
once,  then  in  uneven  rhythm.) 

4.  (1)    Arm   bending;    (2)     (double)    foot    placing   sideways    (wide 

jump)  with  downward  bending,  touching  floor;  (3)  trunk  raising 
with  arm  bending;  (4)  jump  to  fundamental  position.  (On  signal 
once  or  twice,  then  in  slow  rhythm  at  first,  gradually  accelerat- 
ing.) 

5.  Neck  grasp  stride  standing  alternate  side  bending  (two  counts  each 

way),  alternating  with  arm  stretching  upward.  (On  signal  once, 
then  in  uneven  rhythm :  first  and  second  slow,  third  and  fourth 
quick.) 

6.  Hip  grasp  toe  standing  knee  upward  bending  left  and  right.     (Slow 

rhythm;  settle  on  both  feet  and  hold  position  a  moment.) 

7.  "Shot  put."      (  (1)    Raise  right  hand  to  right  shoulder,  left  arm 

sideways  with  left  toe  touching  sideways  and  head  turned  to  left; 
(2)  hop  to  left;  (3)  jump  and  turn  180°,  landing  with  weight  on 
right  foot,  right  knee  bent,  right  arm  straightened  obliquely 
overhead,  body  leaning  forward;  (4)  return  to  fundamental 
position,  bringing  left  foot  to  right.  After  several  repetitions,  on 
signal  and  in  rhythm,  change  to  other  side.) 

8.  Arm  bending  and  stretching  one  forward,  the  other  sideways.     (On 

signal  one  round,  then  in  even  rhythm.) 

9.  Jumping  on  toes  with  arm  flinging  sideways-upward  and  foot  plac- 

ing sideways,  crossing  feet  on  return  jump.     (Rhythmic.) 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  /j. 
I.     Marching. 

II.     1.    Arm     Hinging     sideways-upward    with    knee     bending,     heels     off. 
(Rhythmic.) 

2.  Alternate  oblique  foot  placing  with  hands  on  hips,  and  heel  raising. 

(On  signal  one  round,  then -in  slow  rhythm.) 

3.  Twist  standing  high  arm  circling  ft  wo  counts)  with  backward  mov- 

ing of  head  and  chest  expansion.  (On  signal  three  times  each 
side.) 

4.  "Basket  ball  foul  throw."   (  (1)    Arm  raising  forward   (palms  up) 

with  left  foot  placing  sideways;  (2)  stooping  with  downward 
swing  of  arms,  followed  by  quick  straightening  of  knees  and 


238  GYMNASTIC  TEACHING 

trunk  with  arm  flinging  forward-upward;  (3)  return  to  funda- 
mental position,  bringing  left  foot  sharply  to  right.  Repeat  to 
right  on  signal,  then  in  uneven  rhythm.) 

5.  Neck  grasp  standing  alternate  leg  flinging  sideways.     (Rhythmic.) 

6.  Arm   bending   with   alternate    foot   placing    forward,   and    forward 

bending  of  trunk  45°.  (On  signal  one  round,  then  in  uneven 
rhythm :  first  and  fourth  quick,  second  and  third  slow  and  re- 
strained.) 

7.  Arm   forward  bend  stride  standing  alternate  trunk  twisting    (two 

counts  each  way),  alternating  with  arm  flinging  sideways.  (On 
signal  one  round,  then  in  moderate,  even  rhythm ;  all  movements 
quick.) 

8.  Front   leaning   rest   and   return    (four   counts).      (On   signal   once, 

or  start  immediately  in  moderate,  even  rhythm.) 

9.  Alternate  oblique  leap  and  hop  with  arm  flinging   forward-upward 

on    same    side,    forward-downward    on    the    other.      (Rhythmic.) 
(See  Series  4,  lesson  10.) 
10.    Arm  raising  sideways,  palms  up.  with  backward  moving  of  head 

and  breathing. 
III.     Apparatus  work,  etc.      ) 


i     or  game 
I\  .     Run,  etc 


Lesson   14. 
I.     Marching. 

II.  1.  Arms  overhead  stride  standing  arm  parting  (to  side-horizontal) 
with  knee  bending.  (Moderate  rhythm;  movement  moderate 
speed. ) 

2.  Hip  grasp  standing  alternate  heel-and-toe  raising.      (Rhythmic.) 

3.  Arm  bend  forward  walk  standing  slow  arm  stretching  upward  with 

backward  moving  of  head  and  chest  expansion.  (On  signal  three 
times  each  side.) 

4.  (1)  Placing  hands  on  neck;  (2)  double  foot  placing  sideways  (wide 

jump)  with  downward  bending,  touching  floor;  (3)  trunk  raising 
,  with  arm  flinging  sideways,  palms  up;  (4)  jump  to  fundamental 
"  position.  (On  signal  once,  then  in  moderate  rhythm,  gradually 

accelerating. ) 

5.  Quick  low  arm  circling  (one  continuous  movement)  with  alternate 

leg  flinging  forward.  (Slow  rhythm,  holding  fundamental  posi- 
tion a  moment  between  each  stroke.) 

6.  "Discus  throw."      (  (1)   and   (2)   swing  hands  behind  left  shoulder 

twice;  (3)  leap  (from  left  foot)  with  180°  left  turn,  swinging 
straight  right  arm  obliquely  upward  and  to  left  and  landing  on 
right  foot,  bending  knee;  (4)  return  to  fundamental  position, 
bringing  left  foot  to  right.  After  several  repetitions,  on  signal 
and  in  rhythm,  change  to  other  side.) 

7.  Alternate  foot  placing  sideways  with  hands  on  neck,  and  side  bend- 

ing (to  side  of  moved  foot).  (On  signal  once,  then  in  uneven 
rhythm  :  first  and  fourth  quick,  second  and  third  slow,  full  range 
movements. ) 

8.  Front   leaning  rest  with    feet   apart,  turn   left  to  right   side  leaning 

rest  (three  counts);  return  to  fundamental  position  (three 
counts).  Same  on  other  side.  Repeat  in  slow  uneven  rhythm, 
alternating  left  and  right,  third  and  sixth  counts  held  longer 
than  the  others. 

9.  Jumping    on    toes    with    arm    flinging    sideways-upward    and     foot 

placing  sideways,  crossing  hands  and  feet  on  return  jump.  (Imi- 
tation once  or  twice,  if  necessary,  then  in  rhythm.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  239 

10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

.    Series  VII . 
College  Women.     First  Year.* 

Lesson  i. 

I.  Alignment  on  one  or  two  ranks.  Practice  response  to  "Attention!" 
and  "At  ease!"  Line  marching.  Halts.  Informal  about  facing. 
Count  twos.  Open  order  by  forward  and  backward  steps,  each  on 
separate  signal.  Informal  left  and  right  facings. 

II.     1.    Hand    clapping   overhead    with    knee    bending    (heels    leaving    the 
floor).     (Rhythmic.) 

2.  "Rooster"  (flapping  wings).    (Arm  bend  standing  raising  of  elbows 

with  heel  raising  and  backward  moving  of  head.  Fairly  quick 
rhythm. ) 

3.  Wide  stride  standing  hand  clapping  behind  knee   (with  bending  of 

knee)  and  overhead,  alternately  left  and  right.     (Rhythmic.) 

4.  Knee  upward  bending  left  and  right,  grasping  knee  and  pressing 

it  up  against  chest.     (Rhythmic.) 

5.  Stride   standing   side   bending.      (Continuous   movement    from   side 

to  side,  sliding  the  hand  down  on  one  side,  up  on  the  other.  Slow 
rhythm  and  movement.) 

6.  Arm    bending    and     stretching     sideways.       (Even,     fairly     quick 

rhythm.) 

7.  "Driving  stakes."     (With  feet  apart  and  closed  hands  in  front  of 

chest,  slightly  bend  and  sharply  twist  body  to  right,  swinging 
arms  behind  right  shoulder,  then  up  overhead  and  straight  down- 
ward, with  quick  knee  bending  and  slight  forward  inclination  of 
trunk.  Upper  back  straight.  After  six  to  eight  repetitions  in 
moderate  rhythm  change  to  other  side.  Later  alternate.) 

8.  Hip  grasp  standing  jumping  on  toes,  first  without,  then  with   foot 

placing  sideways  (stride  jump).     (Rhythmic.) 

9.  Arm  raising  sideways  with  deep  breathing. 

III.  Bar  stalls  or  window  ladder  or  low  bar  or  boom  or  parallel  bars  or 

ropes  :  grasp  arm  bend  standing  arm  stretching  with  knee  bend- 
ing. 

IV.  Short   run.      (Start   informally,   follow-the-leader    fashion.      Finish   by 

marching  around  the  room  once  or  twice  with  deep  breathing  on 
"One!  Tzvo!"  while  marching,  or  after  halting,  or  both. 
NOTE. — The  "apparatus  work"  under  III  can  be  done  without  any  per- 
manent organization  into  squads,  the  teacher  handling  the  whole 
class  distributed  at  the  various  pieces  of  apparatus.  At  the 
second  or  third  meeting  the  class  should  be  organized  permanently 
into  squads  (tentatively  graded)  for  progressive  apparatus  work, 
preferably  under  popularly  elected  leaders.  The  apparatus  work- 
may  be  reduced  to  simple,  representative  types  capable  of  being 
measured  and  scored  on  a  point  scale  and  supplemented  by  vari- 
ous other  competitive  activities  as  suggested  in  Series  I  for 
Junior  High  School. 


240  GYMNASTIC  TEACHING 

Lesson  2. 

I.  Alignment  as  before.  Line  inarching  and  halts.  About  facing  (army 
style)  on  two  counts,  stopping  on  first.  Begin  "to  the  rear  march" 
as  a  three-count  movement,  stopping  on  first  count  with  shortened 
step,  feet  slightly  crossed,  weight  on  rear  (right)  foot.  On 
"Tzvo!"  (or  "Nozt1!")  turn  sharply  (on  toes)  to  right  and  step 
out  in  new  direction  with  left  foot,  class  counting  "two,  three" 
while  doing  the  movement  (having  counted  "one"  when  stopping 
with  the  left  foot  forward).  Open  order  as  before,  but  on  one 
signal,  "Open  order — inarch!"  Right  and  left  facings  on  two 
counts,  stopping  on  first  count. 

II.  1.  "Raising  the  flag"  (or  "Hoisting  sail").  (With  feet  apart  and 
one  arm  raised  overhead,  the  other  in  front  of  chest,  quick  knee 
bending  with  downward  stroke  of  arms,  hands  close  to  body.  On 
the  return  movement  the  position  of  the  arms  is  reversed.  Single 
or  double  time  marking  may  be  used.  If  the  latter,  the  rhythm 
is  uneven,  the  return  being  somewhat  slower  than  the  downward 
movement.) 

2.  Arm  flinging  sideways,  palms  up,  with  backward  moving  of  head. 

(Fairly  slow  rhythm;  quick  movements;  positions  held.) 

3.  Wide   stride   standing   downward   bending,   touching   floor,   striking 

thighs  on  return.      (Moderate  rhythm.) 

4.  Hip  grasp  standing  leg  flinging  sideways,  left  and  right.     Stop  to 

change.  (Slow  rhythm,  settling  on  both  feet  and  holding  the 
position  a  moment  after  each  movement;  mark  time  as  the 
foot  strikes.) 

5.  Arm    bending    and    stretching    sideways    and    downward.       (Even 

rhythm.) 

6.  "Paddling."      (With   feet  apart,  twist  and  bend  body  to  left  with 

downward-backward  sweep  of  arms.  Return  movement  follows 
smoothly.  After  six  to  ten  repetitions  change  to  other  side.) 

7.  Standing  jump  forward  on  four  counts.     (On  "One!"  rise  on  toes 

with  arm  raising  forward;  on  "Two!"  swing  arms  quickly  back- 
ward, then  forward-upward  with  jump,  landing  with  knee  bending 
and  arms  at  sides;  on  "Three!"  straighten  knees;  on  "Four!" 
lower  heels.  Repeat  four  to  eight  times.) 

8.  Running  jump  forward  with  two  start  steps    (starting  first  with 

left  then  with  right  foot,  on  word  "Go!"  and  returning  to  funda- 
mental position  on  "Three!  Four!") 

9.  Deep  breathing   (hands  placed  on  sides  of  lower  chest). 

III.  Apparatus  work. 

a.  Bar  stalls,  or  boom,  or  horizontal  ladder : 

Hanging  alternate  knee  upward  bending    (two  counts  each  side) 
or  raising  one  as  the  other  is  lowered. 
Hanging  side-swing  from  waist. 

b.  Standing    hop;    standing    "step"    (or    leap);    standing    jump,    each 

from  left  and  right  foot. 

(If  inclined  (storm)  boards  are  available,  set  them  against  bar  stalls  and 
run  up  one  and  down  the  other;  then  up,  turn  around  and  run  down  the  same 
board,  clapping  hands,  bowing,  etc.,  before  running  down.) 

IV.  Short  run,  or  running  game;  breathing  exercise. 

Lesson  j. 

I.  Marching  as  before.  Finish  "to  the  rear  march"  as  a  complete  three- 
count  movement  in  marching  rhythm.  Practice  marking  time 


PROGRESSION  OF  GYMNASTIC  LESSONS  241 

from  halt  or  march,  halting  and  marching  forward.     Open  order 
as  before.     Left,  right  and  about  facings  on  two  counts,  in  slow 
rhythm;   quick  movements,  marked  by   tapping   of   toe   and  the 
intermediate  position  held  an  instant. 
II.     1.    Hand  clapping  overhead  with  heel  raising.     (Rhythmic.) 

2.  Hip  grasp  stride  standing  knee  bending.     (On  signal  once,   slow 

movement,  once  quick;  then  in  slow  rhythm,  movements  quick.) 

3.  Head  grasp  standing  "stretching."      (  (1)    Place  hands  on  top  of 

head ;  (2)  "stretch"  up  as  tall  as  possible,  pushing  head  against 
hands;  (3)  bring  hands  down  slowly  while  keeping  back 
"stretched."  Imitation  once,  then  on  signal  counts :  first  quick, 
second  and  third  very  slow  and  restrained.  Repeat  once  or  twice 
more.) 

4.  "Chopping  down  tree."     (With  closed  hands  in  front  of  chest  and 

feet  apart,  twist  and  lean  well  over  to  right  with  right  knee 
bending,  swinging  arms  up  over  right  shoulder ;  then  diagonally 
downward  toward  left  knee,  bending  that  knee,  curving  the  stroke 
and  finishing  it  by  swinging  hands  between  feet  to  use  up  momen- 
tum. After  six  to  eight  repetitions  change  to  other  side.) 

5.  Hip  grasp  standing  knee  upward  bending  left  and  right.     Stop  to 

change. 

6.  Arm  bending  and  stretching  upward.     (Even  rhythm.) 

7.  Hip  grasp  toe  standing  march   steps   forward  and  backward    (on 

counts  for  each  step). 

8.  Hip  grasp  stride  standing   (rhythmic)    side  bending.      (Continuous 

movement  from  side  to  side  in  slow  rhythm;  slow  movement.) 

9.  Standing  jump   upward   with  arm   flinging  overhead.      (On   four 

counts,  as  standing  jump  forward.     See  preceding  lesson.) 
10.    Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 
and  deep  breathing. 

III.  Apparatus  work  or  competitive  activities. 

a.  Bar  stalls  :  Climbing  up  and  down  (using  hands  and  feet)  on  counts 

for  each  step.     Later  race  up  and  down. 

or  Boom :  Mount  and  dismount.    Also  hanging  side-swing  from  waist ; 
also  alternate  or  double  knee  upward  bending. 

b.  Standing  broad  jump:  Compete  for  distance.     Land  on  whole  foot 

and  step  forward. 

or   Running   high   jump    (straight   ahead)    from   left   and   right    foot. 
Also  try  springing  from  both  feet. 

IV.  Run  or  running  game ;  breathing  exercise. 

Lesson  4. 

I.  Marching.  Add  "by  the  left  and  right  flank  march."  At  first  try  it  in 
very  slow  marching  rhythm.  Turn  sharply  90°  on  second  count 
with  full  size  step  and  accent.  Open  o^cler  as  before.  Left  and 
right  facings  in  one  swift  movement. 

II.  1.  Hip  grasp  standing  toe  touching  sideways  with  opposite  knee  bend- 
ing, left  and  right  and  alternate.  (Moderate  rhythm;  movements 
quick;  positions  held.) 

2.  Arm   bending    and    stretching    sideways    and    slow    sinking    (three 

counts)  with  backward  moving  of  head  on  second  count.  (Un- 
even rhythm.) 

3.  Hip  grasp  stride  standing  downward  bending,  touching  floor    (be- 

tween feet)  alternately  with  left  and  right  hand,  turning  head  and 
shoulders  to  opposite  side.  (Moderate  rhythm.) 


242  GYMNASTIC  TEACHING 

4.  "Climbing  ladder."     (Alternate  knee  upward  bending  with  opposite 

arm  flinging  overhead.     Start  in  rhythm.) 

5.  Arm    bending    and    stretching    upward    and    downward.       (Even 

rhythm.) 

6.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.     Change 

without  stopping.  (Slow  rhythm;  settle  on  both  feet  each  time 
and  hold  position.) 

7.  Hip  grasp  standing  heel  raising  and  knee  bending    (four  counts). 

(Even  rhythm;  movements  quick  or  fairly  slow.) 

8.  "Screw  driver."      (Neck  grasp  stride  standing  trunk  twisting  all 

the  way  from  one  side  to  the  other,  making  a  quicker  and  more 
complete  movement  first  to  right  (turning  screw  in),  then  to  left 
(turning  screw  out).  (Uneven  rhythm.  Try  to  keep  hips  im- 
movable by  keeping  knees  rigid.) 

9.  Running  jump  forward  with  three  start  steps.     (See  lesson  2.) 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work  or  competitive  activities. 

a.  Boom  or  horizontal  ladder :  Hanging  alternate  knee  upward  bending 

and  stretching  forward.     Also  double  knee  upward  bending.    Also 
hand  travelling  with  swing  from  waist, 
or  Wide  window  ladder:  Oblique  climbing. 

b.  Running  high  jump  from  left  and  right  foot;  also  from  both  feet. 
or  Buck :  Straddle  vault. 

IV.  Run,  march  ;  toe  march  ;  breathing  exercise. 


Lesson  5. 
1.     Marching  as  before;  more  rapid  changes. 

I!.     1.    Arm  flinging  sideways  with  knee  bending,  heels  off.     (Rhythmic.) 

2.  Neck  grasp  stride  standing  backward  moving  of  head   with  chest 

expansion.     (Response  movement  four  to  six  times.) 

3.  "Rowing."     (Forward  or  oblique  charge  with  arm  flinging  forward, 

then  arm  bending  with  straightening  of  forward  and  bending  of 
rear  knee,  trunk  erect.  Repeat  arm  stretching  forward-down- 
ward and  arm  bending  with  alternate  knee  bending  eight  to 
twelve  times  in  slow  rhythm,  then  change  to  other  side.  Later 
change  by  returning  to  position  every  eighth  count  and  continuing 
on  other  side  without  stopping. 

4.  Stride   standing   side  bending    (continuous  movement   from   side  to 

side)   with  opposite  arm  raising  to  the  vertical.     (Slow  rhythm.) 

5.  Forward  bending  of  arms.     (On  signal  until  majority  get  correct 

position,  but  not  repeated  more  than  three  or  four  times.  Later 
make  repetitions  in  slow  rhythm,  quick  movements.) 

6.  Hip  grasp  standing  leg  flinging   forward  left  and   right.     Stop  to 

change.  (Slow  rhythm;  quick,  high  leg  flinging;  settle  on  both 
feet  at  each  return  and  hold  position  a  moment ;  mark  time  as 
foot  strikes.) 

7.  "Weather  vane."     (With  feet  apart,  hands  on  shoulders  and  elbows 

raised;  quick  trunk  twisting  from  side  to  side.  Try  to  keep  hips 
still  by  keeping  knees  rigid.) 

8.  Arm  bending  and  stretching  upward  and  sideways.     (Even  rhythm.) 

9.  Hip  grasp  standing  hopping  four  times  alternately  on  left  and  right 

foot. 

10.    Low  arm  circling,  palms   up,   witli   backward  moving   of   head   and 
breathing. 


PROGRESSION  OF  GYMNASTIC  LESSONS  243 

III.  Apparatus  work. 

a.  Low  boom  or  bar,  or  parallel  bars,  or  ropes :  Heel-support  hanging 

position.     Arm  bending  and  alternate  leg  raising  from  this  posi- 
tion.   Review  work  previously  done  on  suspension  apparatus. 

b.  Box :    Mount  to  kneeling   position,   step   up  to   standing   position, 

jump  down  from  left,  then  right,  foot. 

IV.  Run,  march ;  toe  march  ;  breathing  exercise. 


Lesson  6. 

I.     Marching  as  before. 
II.     1.    Arm  bending  with  heel  raising.     (Rhythmic.) 

2.  High  arm  circling   (three  counts)   with  backward  moving  of  head 

on  second  count.  (On  signal  once,  then  in  uneven  rhythm:  first 
and  second  quick,  third  slow.) 

3.  "Pulling   up   anchor"    (or    "Horizontal    rope   pull").      (With    feet 

apart,  (1)  raise  arms  to  left  with  left  trunk  twisting  and  forward 
bending  and  with  bending  of  left  knee;  (2)  bend  arms,  untwist 
and  straighten  body  and  left  knee,  shifting  weight  and  bending 
right  knee.  After  eight  to  ten  repetitions  in  moderate  rhythm, 
change  to  other  side.) 

4.  Hip  grasp   standing   forward   bending   of   trunk   45°.      (Slow,   re- 

strained movement  on  signal  four  to  six  times.  Bend  from  hips, 
back  straight.) 

5.  Forward  bending  of  arms,  then  arm  flinging  sideways  and  down- 

ward. (On  signal  once,  then  in  slow,  even  rhythm;  quick  move- 
ments.) 

6.  Hip  grasp  standing  knee  upward  bending  left  and  right.     Change 

without  stopping.  (Slow  rhythm;  movement  quick;  knee  as 
high  as  possible ;  foot  well  forward,  vertically  under  knee ;  settle 
on  both  feet  each  time  and  hold  the  position ;  mark  time  as  foot 
strikes.) 

7.  "Steamboat."     (Arms  side-horizontal  ivide  stride  standing  side-and- 

knee  bending,  continuous  movement.     Slow  rhythm.) 

8.  Hip  grasp   standing  jumping  on  toes   with   foot   placing   forward- 

backward.  (See  that  weight  is  equally  on  both  feet.  Rhyth- 
mic.) 

9.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work. 

a.  Boom  :  Hand  travelling  sideways  without  swing. 

or  Horizontal  ladder  :  Hand  travelling  forward  and  backward  without 
swing. 

b.  Box :   Mount  to  kneeling  position,   side  vault   dismount   with  turn 

(springing    from   one    foot   and    supporting    body    with   opposite 
hand ) . 
or  Buck :  Straddle  vault. 

IV.  Run  or  game;  breathing  exercise. 


Lesson  j. 

I.     Marching  as  before.     Add  "to  the  rear  halt"   (when  class  is  in  open 

order). 

II.     1.    Stride   standing   arm    flinging    sideways   with   quick   knee   bending. 
(Rhythmic.) 


244  GYMNASTIC  TEACHING 

2.  Hip  grasp  standing  heel  raising  with  turning  out  of  heels.     (Rhyth- 

mic.) 

3.  Neck  grasp  standing  "stretching."     (See  lesson  3.) 

4.  "Chopping  a  log."     (Same  as  exercise  4,  lesson  3,  hut  alternating 

left  and  right.     Rhythmic.) 

5.  Hip  grasp  standing   leg   flinging    forward   left   and   right.     Change 

without  stopping. 

6.  Arm    bending    and    stretching    upward,    sideways    and    downward. 

(Even  rhythm.) 

7.  Alternate    foot    placing    sideways    with    (placing)    hands    on    hips. 

(On  signal  one  round,  then  in  slow  rhythm;  quick  movements.) 

8.  Neck  grasp  stride  standing  quick  trunk  twisting  from  one  side  to 

the  other.      (On   signal   one   round,   then   in   slow   rhythm;   hold 
each  position  a  moment;  hips  should  not  turn.) 

9.  "Jumping  Jack"   (jumping  on  toes  with  foot  placing  sideways  and 

hand  clapping  overhead). 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

a.  Low  boom  :  Heel-support  hanging  hand  travelling  sideways.     Heel- 

support  hanging  arm  bending. 

or  Ropes:  Climbing  position.  (Standing  on  toes,  grasp  as  high  as 
possible,  with  hands  close  together  and  arms  straight  ;  then  grasp 
rope  with  feet  and  lower  leg,  with  a  little  less  than  90°  angle  at 
hip  and  about  100°  at  knee.  Feet  well  forward.) 

or  Long  window  ladder  :  Oblique,  zigzag  climbing,  two  pupils  at  a 
time,  facing  in  opposite  direction  and  passing  each  other  at  edges 
of  ladder. 

b.  Running  high  jump   from  left  and  right   foot  and  both   feet,  with 

turn  on  landing. 
or  Buck  :  Straddle  vault.     Low  side  vault. 

IV.  Run,    change    to    quick    time    (marching)    on    four    counts;    breathing 

exercise. 


I.     Marching.     Add  half  step  from  halt  and  during  march. 
II.     1.    Arm    bend    standing    arm    stretching    sideways    with    heel    raising. 
(Rhythmic.) 

2.  Alternate   toe   touching    sideways   with   opposite   knee   bending   and 

placing  hands  on  hips.  (Moderate  rhythm;  movements  quick; 
positions  held.) 

3.  Arm  bending  and  stretching  sideways,  palms  up,  and  slow  sinking 

with  backward  moving  of  head  on  second  count.  (On  signal 
once,  then  in  slow  uneven  rhythm  :  first  and  second  quick,  third 
slow.) 

4.  Hi])    grasp    standing    stooping    and    return    (deep    knee    bending, 

touching  floor  between  feet),  alternating  with  arm  stretching 
downward.  (On  signal  once,  then  in  fairly  quick,  even  rhythm.) 

5.  Stride  standing  alternate  side  bending   (two  counts  each  way)    with 

opposite  arm  flinging  sideways-upward.  (Moderate  rhythm;  arm 
movement  quick,  striking  thigh  on  return  ;  hold  erect  position  a 
moment.) 

6.  Hip  grasp   standing   position   on    one    foot,   the   other   knee    raised: 

change  feet  with  a  jump.  (On  signal  six  to  eight  times;  intervals 
varied;  changes  unexpected.) 

7.  Forward  bending  and  side  flinging  of  arms;  return  i'i  reverse  order. 

(On  signal  once,  then   in   slow  rhythm;   quick  movements.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  245 

8.  "Striking  anvil."     (With  feet  wide  apart,  swing  straight  right  arm 

through  large  arc  in  front  of  body  and  strike  left  hand  held  just 
above  left  knee.  Bend  left  knee  and  twist  body  as  right  arm 
swings.  Repeat  on  other  side.) 

9.  Hip  grasp  standing  hopping  eight  times  alternately  on   left  and 

right  foot,  then  four  times,  then  twice  and  once  (briefly  named 
"hopping  left  and  right,  eight,  four,  two,  one.") 
10.    Arm  raising  sideways  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

a.  Broad  or  long  window  ladder:  Oblique,  zigzag  climbing. 

or  Ropes :  Climbing  position ;  change  to  second  position  by  straighten- 
ing knees,  hips  and  back  and  at  the  last  moment  bending  the  arms. 
Return  to  first  position  and  repeat  several  times.  Also  heel-sup- 
port hanging  arm  bending.  Also  alternate  leg  raising. 

b.  Buck:  Straddle  vault.     Half  knee  vault.     Low  side  vault. 

or  Box :  Preparatory  face  vault,  touching  with  (and  springing  from) 
one  foot.  This  may  also  be  done  from  kneeling  or  stooping  posi- 
tion, facing  one  end  of  box.  Face  vault. 

IV.  Run,  etc. 

Lesson  9. 

I.     Marching.      Add    "face    left    (right)    halt"    (when    class    is    in    open 

order). 
II.     1.    Arm  flinging  forward  with  knee  bending,  heels  off.     (Rhythmic.) 

2.  Alternate    foot    placing    sideways   with    (placing)    hands   on   hips. 

(On  signal  one  round,  then  in  slow  rhythm;  quick  movements.) 

3.  "Rockets."      (Quick  arm  bending  and  stretching  upward  and  slow 

sinking  sideways-downward.     Uneven  rhythm.     Count  "one,  two" 
as  the  arms  go  up  and  more  slowly  "three,  four,  five,  six,  seven, 
'  eight"  as  they  go  down.) 

4.  Hip  grasp  stride  standing  forward-downward  bending.     (On  signal 

four  to  six  times.  A  moderately  quick,  sweeping  movement,  done 
in  the  hips  and  lower  back  to  or  beyond  horizontal ;  upper  back 
straight ;  head  in  fundamental  position.) 

5.  Arm  bend  stride  standing  quick  trunk  twisting  all  the  way   from 

one  side  to  the  other,  alternating  with  arm  stretching  downward 
(three  counts).  (On  signal  one  round,  then  in  slow,  even 
rhythm;  all  movements  quick;  positions  held  a  moment.) 

6.  Hip    grasp    standing    alternate    leg    flinging    forward    with    hand 

clapping  behind  knee.  (Slow  rhythm;  swift  movement;  settle 
on  both  feet  and  hold  position  a  moment ;  use  double  time  mark- 
ing-) 

7.  Arm   bending   and   stretching   sideways.      (First   in   even,   then    in 

uneven  rhythm.) 

8.  Archery:  Shooting  up  into  the  air.     (  (1)   Step  to  right  and  raise 

bow  to  left ;  (2)  draw  bow  :  right  hand  to  face,  bend  body  to  right 
with  right  knee  bending;  (3)  hold  this  position  one  count,  snap- 
ping fingers  to  indicate  release  of  arrow;  (4)  straighten  body  and 
right  knee  and  return  to  fundamental  position.)  After  several 
repetitions  in  slow,  even  rhythm,  change  to  other  side. 

9.  Hip  grasp  standing  jumping  on  toes  with   foot   placing   forward- 

backward  and  together.     (Rhythmic.) 
10.    Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 
III.     Apparatus  work,  etc. 

a.    High  boom  or  horizontal  ladder  :  Hand  travelling  without  swing, 
or   Ropes :    Review   climbing   position    and   change   to   second    position, 


240  GYMNASTIC  TEACHING 

then  try  climbing  by  quickly  shifting  hands  as  high  as   possible 

(straight  anus)   immediately  after  reaching  second  position;  then 

shift  feet  to  first  position  (u'dl  fonvard),  keeping  arms  straight. 

b.    Running  high  jump  from  left   foot  with  90°-180°   left-turn;   from 

right  foot  with  similar  right  turn, 
or  Two  standing  hops;  two   (leaping)    steps;  hop  and  step;  hop  and 

jump;  step  and  hop;  step  and  jump. 
IV.     Run,  etc. 

Lesson  10. 

I.     Marching.      Begin   oblique   marching,   starting    from   halt   and   halting 

facing  front. 

II.     1.    Arm  forward  bend  standing  arm  flinging  sideways  with  heel  raising. 
(Rhythmic.) 

2.  Hip  grasp  ividc  stride  standing  alternate  knee  bending.     (At  first 

two  counts  each  side ;  later  all  the  way  from  one  side  to  the 
other  in  one  continuous  movement.  Slow  rhythm;  slow  move- 
ments.) 

3.  Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with 

backward  moving  of  head  and  chest  expansion.  (On  signal  four 
to  six  times.) 

4.  "Jackknife  dive."      (  (1)    Try   to   touch   floor   by   bending   sharply 

at  the  hips,  with  straight  upper  back ;  (2)  straighten  up  with 
arms  overhead;  (3)  lower  arms  sideways-downward.  (On  signal 
once,  then  in  uneven  rhythm:  first  and  second  quick,  third  slow.) 

5.  Hip  grasp  standing  alternate  leg  flinging  sideways.     (Slow  rhythm; 

swift  up-and-down  movement;  settle  on  both  feet  and  hold  posi- 
tion a  moment;  use  single  time  marking  as  foot  strikes.) 

6.  Ann  bending  and  stretching  upward.     (First  in  even,  then  uneven 

rhythm.) 

7.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward  : 

change  feet  with  a  jump.  (On  signal  six  to  eight  times;  uneven 
intervals.) 

8.  Neck  grasp  stride   standing   alternate   trunk    twisting    (two   counts 

each  side).  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements;  positions  held.) 

9.  Hip  grasp  standing  toe  jumping  forward  and  backward,  four  jumps 

each  way.     (Say  "Class  halt"  as  a  backward  series  begins.) 
10.    High  arm  circling  (two  counts)  with  breathing. 

III.  Apparatus  work,  etc.. 

a.  Giant  stride  :  "March"  around  with  long,  leaping  steps,  pulling  up 

and  partly  bending  arms  at  each  step.  Grasp  two  ladders  at 
head  height :  Hop-slide  several  times  until  sufficient  momentum 
has  been  attained,  then  "coast"  with  both  feet  behind,  or  one  in 
front,  one  behind.  Stop  and  go  the  other  way.  Grasp  two  lad- 
ders :  Run  on  a  straight  line  until  ladders  are  becoming  taut,  then 
leap  and  turn  60°  while  in  the  air;  land  on  other  foot  and  repeat 
run  and  leap.  Repeat,  going  the  other  way. 

or  Rope  ladders:  Climbing  on  counts  for  each  step,  raising  opposite 
hand  and  foot,  keeping  knees  and  elbows  wc-11  out.  Later  racr 
up  and  down.  Also  two  pupils  on  one  ladder,  faring  each  other 
on  outside  of  ladder,  moving  same  foot  and  toeing  in. 

b.  I'ox  :   Mount  to  kneeling  position,  direct  dismount    forward.     Also 

face  vault.     (Weight  well  forward.     Arms  and  body  straight.) 
or  P.uck  :  Straddle  vault.     Low  side  vault.     Knee  vault. 

IV.  Run,  etc. 


PROGRESSION  OF  GYMNASTIC  LESSONS  247 

Lesson  u. 

I.     Marching.     Left  and  right  oblique  march  while  marching. 
II.     1.    Arm  bend  standing  arm  stretching  upward  with   (quick)   heel  rais- 
ing.    (Rhythmic.) 

2.  Arms  side-horizontal  standing  turning  of  hands  with  backward  mov- 

ing of  head  and  chest  expansion.     (On  signal  five  or  six  times.) 

3.  Hip  grasp  standing  stooping,  touching  floor   (between   feet)   alter- 

nately with  left  and  right  hand  (turning  head  and  shoulders  in 
opposite  direction).  (Rhythmic.) 

4.  Arm  bend  stride  standing  alternate  trunk  twisting  (two  counts  each 

way),  alternating  with  arm  stretching  downward  (four  counts). 
( On  signal  one  round,  then  in  slow,  even  rhythm ;  quick  move- 
ments.) 

5.  Neck  grasp  standing  forward  bending  of  trunk  45°.      (Slow,   re- 

strained movement  on  signal  five  or  six  times.) 

6.  Arm  bending  and 'stretching  sideways  and  downward.      (First   in 

even,  then  in  uneven  rhythm.) 

7.  Hip  grasp  standing  heel  raising  and  knee  bending  first  half-way, 

then  all  the  way  down.     (Uneven  rhythm.) 

8.  Neck  grasp  stride  standing  side  bending  all  the  way  from  one  side 

to  the  other  in  one  movement.     (Slow  rhythm;  slow  movement.) 

9.  Crouching  start  and  running  in  place,  first  without,  then  with  knee 

upward  bending.     (Halt  on  two  counts.) 

10.    Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with 
backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc.    (Further  progression  illustrated  in  Series  VIII.) 

IV.  Run,  etc. 

Lesson  12. 

I.     Marching  as  before. 

II.     1.    Side  lunge  with   (placing)   hands  on  hips.      (On  signal  one  round, 
then  in  slow  rhythm;  movements  as  quick  as  possible.) 

2.  Arm  bend   standing   slow   arm   stretching   upward   with   backward 

moving  of  head  and  chest  expansion.  (On  signal  five  or  six 
times.) 

3.  Hip  grasp  stride  standing  forward-downward  bending,  alternating 

with  arm  stretching  downward.  (On  signal  once,  then  in  mod- 
erate, even  rhythm.) 

4.  Arm   bending   with   alternate    foot    placing    forward.      (On    signal 

one  round,  then  in  slow  rhythm ;  movements  quick ;  positions 
held.) 

5.  "Horseshoe  bend."     (With  feet  wide  apart,  swing  right  arm  side- 

ways-upward, at  the  same  time  bending  body  to  left  with  right 
knee  bending.  Return.  After  six  to  eight  repetitions  in  moderate 
rhythm  change  to  other  side.  Later  alternate.) 

6.  Hip  grasp  standing  alternate  leg  flinging  forward.     (Slow  rhythm.) 

7.  Arm  bend  stride  standing  trunk  twisting  all  the  way  in  one  move- 

ment, alternating  with  arm  stretching  sideways.  (On  signal  one 
round,  then  in  slow,  even  rhythm;  all  movements  quick.) 

8.  Neck  grasp  toe  standing  march  steps  forward  and  backward.     (On 

signal  counts  for  each  step;  varied  intervals.) 

9.  Standing   jump    upward    with   90°    turn    (on    four    counts).      (See 

lesson  3.) 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 


248  GYMNASTIC  TEACHING 

Lesson  13. 

I.     Marching  as  before. 
II.     1.    Arm  Hinging  sideways,  palms  up,  with  heel  raising.     (Rhythmic.) 

2.  Alternate   foot  placing  sideways  with  hands  on  hips,  and   (quick) 

knee  bending.     (On  signal  one  round,  then  in  slow  rhythm.) 

3.  Arms  overhead  standing  "stretching."     (See  lesson  3,  exercise  3.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  side- 

ways.    (On  signal  once,  then  in  fairly  quick  rhythm.) 

5.  Neck  grasp  stride  standing  alternate  trunk  twisting    (two  counts 

each  way).     (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements.) 

6.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  sideways : 

change  feet  with  a  jump.      (On  signal  six  to  ten  times;  varied 
intervals.) 

7.  Arm   bending    and    stretching    upward,    sideways    and    downward. 

(Even  and  uneven  rhythm.) 

8.  Neck   grasp   stride    standing    forward-xlownward    bending    (as    far 

as  possible  with  straight  upper  back).     (Fairly  quick  movement; 
on  signal  five  or  six  times.) 

9.  Hip  grasp  standing  toe  jumping  alternately  to  left  and  right   (feet 

together).     (Rhythmic.) 

10.    Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 
breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  14. 

I.  Marching.  Form  class  on  one  rank  (or  if  too  large  to  allow  this, 
on  two  ranks  six  to  eight  paces  apart).  Count  off  (fours).  Prac- 
tice squads  right  and  left  as  done  by  front  rank  only.  Begin  from 
halt,  using  four  steps  (stepping  out  on  fifth).  Later  try  during 
march,  using  an  additional  step  for  the  manoeuvre. 

II.     1.    Hip  grasp  standing  heel  raising  and  knee  bending.     (Even  and  un- 
even rhythm.) 

2.  Arms  side-horizontal   (palms  up)   standing  arm  raising  with  back- 

ward moving  of  head  and  chest  expansion.     (On  signal  five  or 
six  times.) 

3.  Alternate  foot  placing  sideways  with  hands  on  hips,  and   forward- 

downward  bending.     (On  signal  one  round,  then  in  even  rhythm.) 

4.  Arm  bend    forward  walk  twist   standing  arm   stretching   sideways. 

(Even  rhythm.) 

5.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward  : 

knee  bending    (on   supporting   side).      Slow   movement   on    signal 
three  to  four  times  each  side. 

<).  Neck  grasp  stride  standing  alternate  side  bending  (two  counts 
each  way),  alternating  with  arm  stretching  downward  (four 
counts).  (On  signal  one  round,  then  in  slow,  uneven  rhythm: 
first  and  second  slow,  third  and  fourth  quick.) 

7.  Alternate  oblique  charge  with  (placing)  hands  on  hips.     (On  signal 

three  or  four  times  each  side,  or  until  majority  get  correct  posi- 
tion.    Later  in  slow  rhythm;  movements  as  quick  as  possible.) 

8.  Arm  bending  and   stretching  upward  and   flinging   sideways-down- 

ward.      (Moderate,    even    rhythm;    movements    quick;    positions 
marked.) 

°.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways  and 
crossing  of  feet  on  return  jump.  (Rhythmic.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  249 

10.    Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 
and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  75. 

I.     Marching.    Squads  right  and  left  as  done  by  rear  rank. 
II.     1.    Hip    grasp    standing    alternate    heel-and-toe    raising     (rocking). 
(Rhythmic.) 

2.  Arm  bend  stride   standing  arm  stretching   sideways   with    (quick) 

knee  bending.     (Rhythmic.) 

3.  Neck  grasp  forward  walk  standing  backward  moving  of  head  with 

chest  expansion.     (On  signal  three  or  four  times  each  side.) 

4.  Arm  bend  wide  stride  standing  downward  bending,  touching  floor, 

alternating  with  arm  stretching  downward.  (On  signal  once, 
then  in  fairly  quick,  even  rhythm.) 

5.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 

forward.  (On  signal  one  round,  then  in  slow,  even  rhythm;  all 
movements  quick ;  positions  held ;  stop  unexpectedly  on  third 
count.) 

6.  Alternate   foot  placing  sideways  with  hands  on  neck,   and  trunk 

twisting  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  slow,  even  rhythm;  all  movements  quick;  positions  held.) 

7.  Arm  bending  with   alternate  oblique   charge.      (On   signal   and   in 

slow  rhythm;  quick  movements.) 

8.  One  hand  on  hip,  one  hand  on  neck  stride  standing  side  bending  (to 

side  of  lower  hand)  alternating  with  change  of  arm  position. 
(On  signal  one  round,  then  in  slow,  uneven  rhythm:  first  and 
second  slow  and  restrained,  third  quick.) 

9.  Hip  grasp  standing  toe  jumping  alternately  forward  and  backward 

(feet  together).      (Rhythmic.) 

10.    Arm   bend   standing   slow   arm   stretching   upward    with   backward 
moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  16. 

I.  Marching.  Form  class  on  two  ranks,  arm's  distance  plus  ten  inches 
apart.  Practice  squads  right  and  left,  complete,  from  halt  and 
while  marching. 

II.     1.    Lo\v  arm  circling,  palms  up,  with   (quick)  heel  raising.     (Rhyth- 
mic.) 

2.  Hip  grasp  standing  heel  raising  and  knee  bending,  first  half-way, 

then  all  the  way  down.     (Uneven  rhythm.) 

3.  Arms  overhead  standing  arm  parting  (to  arms  side-horizontal)  with 

backward  moving  of  head  and  chest  expansion.  (On  signal  four 
to  six  times.) 

4.  Arm  bending  with  alternate   foot  placing  sideways,  and   forward- 

downward  bending  (as  far  as  possible  with  straight  upper  back). 
(On  signal  one  round,  then  in  fairly  slow,  even  rhythm.) 

5.  Neck  grasp  stride  standing  trunk  twisting  all  the  way  in  one  move- 

ment, alternating  with  arm  stretching  downward.  (On  signal 
one  round,  then  in  slow  rhythm;  all  movements  quick.) 

6.  Hip  grasp  toe  standing  alternate  knee  upward  bending.      (Rhyth- 

mic.) 


250  GYMNASTIC  TEACHING 

7.  Arm    bending    and    stretching    upward,    sideways    and    downward. 

(Uneven  rhythm.) 

8.  Alternate  forward  charge  with  (placing)  hands  on  hips.     (On  sig- 

nal until  majority  get  correct  position,  then  in  slow  rhythm; 
quick  movements.) 

9.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  sideways  : 

cut-step  sideways.      (Rhythmic.) 

10.    High  arm  circling   (two  counts)   with  backward  moving  of  head 
and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Series  VIII. 
College  W omen.     Second  Year. 

Lesson  I. 

I.  Alignment  on  one  or  two  ranks.  Line  marching.  Halts.  About  fac- 
ing, stopping  on  first  count.  "To  the  rear  march,"  stopping  on 
first  count.  Later  complete.  Emphasize  good  alignment,  lively 
rhythm,  light  step,  toes  straight  ahead  and  touching  first.  Count 
twos  and  open  order  by  forward  and  backward  steps. 
II.  1.  Arm  bending  with  (quick)  heel  raising.  (Rhythmic.) 

2.  Arm    flinging    forward    with     (quick)     knee    bending,    heels    off. 

(Rhythmic.) 

3.  "Rockets."     (See  Scries  VII,  lesson  9.) 

4.  Hip  grasp  stride  standing  downward  bending,  touching  floor   (be- 

tween feet)  alternately  with  left  and  right  hand  (turning  head 
and  shoulders  in  opposite  direction;  knees  straight).  (Rhyth- 
mic.) 

5.  Ann  bending  and  stretching  sideways.     (Even  rhythm.) 

6.  Hip  grasp  standing  knee  upward  bending   left  and   right.      (First 

stop  to  change,  then  change  without  stopping.) 

7.  Stride   standing  alternate   side  bending  all   the   way   in   one   move- 

ment with  opposite  arm  raising  to  vertical.  (Slow  rhythm; 
slow  movement.) 

8.  Standing  jump  forward  on  four  counts.     Also  running  jump  with 

two   start  steps.      (See   Scries  VII,   lessons  2  and  3.) 

9.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Climbing  up  and  down  bar  stalls  on  counts  and  racing. 

or  Grasp  arm  bend  standing  arm  stretching  with  knee  bending  (rhyth- 
mic) on  bar  stalls,  window  ladder,  low  boom  or  bar,  parallel  bars 
or  ropes. 

IV.  Short  run,  changing  more  or  less  informally  to  quick  time;  toe  march; 

breathing  exercise. 

NOTK. — On  second  meeting   (or  first)   organize  class  in   squads   for  progres- 
sive apparatus  work  and  competitive  activities. 

Lesson  2. 

I.     Marching,      ''To    the    rear    and    by    the    left    and    right    flank    march" 
Open  order  as  before,  two-count  facings  complete,  in  slow  rhythm. 
II.     1.    Toe    touching    sideways    with    opposite    knee    bending    and    placing 
hands  on  hips.     Left  and  right  and  alternate.     (Rhythmic.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  251 

2.  Head  grasp  standing  "stretching."     (See  Series  VII,  lesson  3.) 

3.  Hip  grasp  standing  stooping,  alternating  with  arm  stretching  down- 

ward.    (Rhythmic.) 

4.  "Weather  vane."     (See  Series  VII,  lesson  5.) 

5.  Hip  grasp  standing  forward  bending  of  trunk  45°.     (Straight  back; 

slow,  restrained  movement  on  signal  counts  four  to  six  times.) 

6.  Arm    bending    and    stretching    sideways    and    downward.      (Even 

rhythm.) 

7.  Hip  grasp  standing  leg  flinging   forward  left  and  right.     Stop  to 

change. 

8.  "Steamboat."     (See  Series  VII,  lesson  6.) 

9.  Standing  jump  upward  on  four  counts.     (See  Series  I,  lesson  3.) 
10.    Arm  raising  sideways  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

a.  Boom  or  horizontal  ladder:  Hanging  side-swing  from  waist;  alter- 

nate  knee   upward   bending ;    double   knee   upward   bending   with 
twist  and  swing. 

b.  On  mat:  Standing  hop;  standing  step  (leap)  ;  standing  jump,  each 

from  left  and  right  foot;  standing  broad  jump. 

IV.  Run,  etc. 

Lesson  j. 

I.     Marching  as  before.     Add  half   step    (forward  and  backward)    from 

halt  and  while  marching  or  marking  time. 
II.     1.    Arm  flinging  sideways  with  knee  bending,  heels  off.     (Rhythmic.) 

2.  Alternate  foot  placing  sideways  with  hands  on  hips.     (Rhythmic.) 

3.  Quick  low  arm  circling,  palms  up,  with  backward  moving  of  head. 

(Rhythmic.) 

4.  "Chopping  a  log."     (See  Series  VII,  lesson  7.)     (Rhythmic.) 

5.  Forward  bending  and  side-flinging  of  arms  ;  return  in  reverse  order. 

(On  signal  once,  then  in  slow  rhythm;  quick  movements.) 

6.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.     Stop  to 

change. 

7.  "Paddling."     (See  Series  VII,  lesson  2.) 

8.  Arm  bending  and  stretching  upward.      (Even  rhythm.) 

9.  Marking  time;  running  in  place   (double  time)   without  and  with 

knee  upward  bending;  change  from  double  to  quick  time   (mark- 
ing time)   in  four  counts. 

10.    Arm  bend  standing  slow  arm  stretching  sideways   with  backward 
moving  of  head  and  breathing. 

III.  Apparatus   work,  etc. 

a.  Boom  or  horizontal  ladder :  Hand  travelling  without  swing, 
or  Rings :  Rotary  travelling  forward. 

b.  Box:  Mount  to  kneeling  position,  step  up,  jump  down   (from  left, 

then  right   foot). 

Mount  to  kneeling  position,  vault  off,  springing  from  one  foot, 
or  Buck  :   Straddle  vault. 

IV.  Run,  etc. 

Lesson  4. 

I.     Marching.    Left  and  right  oblique  march,  first  from  halt  and  halting 
facing  front;  then  while  marching.     Open  order  as  before.     Left 
and  right  facings  in  one  quick  movement. 
II.     1.    Hand  clapping  overhead  with  heel   raising.      (Rhythmic.) 

2.    Stride   standing  arm   bending   with   quick   knee   bending.      (Rhyth- 
mic.) 


252  GYMNASTIC  TEACHING 

3.  Neck  grasp  standing  "stretching."     (See  Series  VII,  lesson  3.) 

4.  "Striking  anvil."     (See  Scries  VII,  lesson  6.) 

5.  Hip  grasp  standing  knee  upward  bending  left  and  right.     (Unex- 

pected changes.) 

6.  Arm  bending  and  stretching  upward  and  downward.     (Even  and 

uneven  rhythm.) 

7.  Hip  grasp  standing  forward-downward  bending  (as  far  as  possi- 

ble with  straight  upper  back;  fairly  quick,  sweeping  movement 
on  signal  four  to  six  times ;  do  not  hold  class  long  in  bent  posi- 
tion.) 

8.  Stride  standing  alternate  side  bending  (two  counts  each  way)  with 

opposite  arm  flinging  sideways-overhead.      (Moderate  rhythm.) 

9.  Hip  grasp  standing  jumping  on  toes  in  moderate,  quick  and  very 

slow  rhythm.  Also  with  foot  placing  sideways  and  crossing  of 
feet. 

10.    Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 
and  breathing. 

III.  Apparatus  work,  etc. 

a.  Ropes :   Climbing  position  ;  change  to  second  position ;  try  climb- 

ing, 
or  Wide  or  long  window  ladder:  Oblique   (zigzag)   climbing. 

b.  Running  high  jump  from  each   foot,  with  turn  to  same   side. 

or  On  mat :  Two  standing  hops ;  two  steps ;  hop  and  step ;  step  and 
hop;  hop  and  jump;  step  and  jump;  two  standing  broad  jumps. 

IV.  Run,  etc. 

Lesson  5. 

I.     Marching  as  before.     Rapid  and  unexpected  changes. 
II.     1.    Arm   bending  with   alternate   foot  placing   forward.      (On   signal 
one  round,  then  in  slow  rhythm  ;  quick  movements  ;   later  start 
at  once  in  rhythm.) 

2.  Hip   grasp   standing  quick   side   stepping   alternately   to   left   and 

right  (with  rising  on  toes  as  weight  is  shifted).     (Rhythmic.) 

3.  Jiigh  arm  circling  (three  counts)  with  backward  moving  of  head. 

(On  signal  once,  then  in  uneven  rhythm:  first  and  second  quick, 
third  slow.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  side- 

ways. (On  signal  once,  then  in  even,  fairly  quick  rhythm;  later 
start  at  once  in  moderate  rhythm,  then  accelerate  somewhat.) 

5.  Hip  grasp  stride  standing  side  bending  all  the  way  in  one  move- 

ment.     (Slow  rhythm.) 

6.  Forward  bending  of  arms,  then  arm  flinging  sideways  and  down- 

ward. (On  signal  once,  then  in  slow,  even  rhythm;  quick  move- 
ments.) 

7.  Hip  grasp  standing  leg  flinging  forward  left  and  right.     (Change 

without  stopping.     Make  changes  more  and  more  unexpected.) 

8.  "Driving  stakes."      (See  Series  VII,  lesson   1.) 

9.  Hip   grasp   standing   hopping   alternately   on   left   and    right    foot. 

Finish  with  eight,   four,  two,  one. 
10.    Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 
III.     Apparatus  work,  etc. 

a.  Low   boom:    Heel-support    hanging   arm   bending;    hand    travelling 

sideways. 

b.  Bar  stalls  and  benches:   Hip  grasp  prone  lying  position  and   for- 

ward bending  from  this  position.     Hip  grasp   foot  grasp  sitting 


PROGRESSION  OF  GYMNASTIC  LESSONS  253 

backward  leaning  of  trunk.     (After  a  few  repetitions  on  signal, 
try  in  slow  rhythm.) 
c.    Saddle  boom:  "Free"  front  rest  (with  assistance).     Squat  mount, 

dismount  forward.     Squat  vault. 
IV.    Run,  etc. 

Lesson  6. 

I.     Marching.    Squads  right  and  left  as  done  by  front  rank.    Open  order 

by  left   (right)   facing  (one  count)   and  side  steps. 

II.     1.    Arm  bend   standing  arm   stretching  sideways   with   heel   raising. 
(Rhythmic.) 

2.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  (quick) 

knee  bending.     (On  signal  one  round,  then  in  slow  rhythm.) 

3.  Neck  grasp  stride  standing  backward  moving  of  head  with  chest 

expansion.  (On  signal  four  to  six  times;  stimulate  class  to 
great  effort.) 

4.  "Rowing."     (See  Series  VII,  lesson  5.) 

5.  Arm  bend  stride  standing  trunk  twisting  all  the  way  in  one  move- 

ment, alternating  with  arm  stretching  downward.  (On  signal 
one  round,  then  in  slow  rhythm ;  all  movements  quick ;  positions 
held.) 

6.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.     Unex- 

pected changes  (without  stopping). 

7.  Arm   bending   and   stretching   upward    and    sideways.      (Uneven 

rhythm.) 

8.  Balance  march  on  one  count  for  each  step.     Later  in  slow  rhythm. 

(Transfer  weight  completely  and  hold  a  moment  before  ad- 
vancing the  other  foot.) 

9.  Jumping   on   toes   with   arm   flinging   sideways-upward   and    foot 

placing  sideways.      (Rhythmic.) 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

a.  Ropes  :   Climbing. 

b.  Box:    Preparatory   face  vault    (helping   with   one   foot).      Mount 

to  kneeling  position,  dismount  forward, 
or  Buck:  Straddle  vault.     Low  side  vault.     Half  knee  vault. 

IV.  Run,  etc. 

Lesson  7. 

I.     Marching.     Squads  right  and  left  as  done  by  rear  rank. 
II.     1.    Arm  flinging  sideways  with  alternate  foot  placing  forward.     (On 
signal  one  round,  then  in  slow  rhythm ;  quick  movements ;  later 
start  at  once  in  rhythm.) 

2.  Hip  grasp  standing  heel   raising  and  knee  bending.      (Moderate, 

even  rhythm;  quick  movements.) 

3.  Arm  bend  standing  slow  arm  stretching  upward  with  backward 

moving  of  head  and  chest  expansion.  (On  signal  four  to  six 
times.) 

4.  Hip  grasp  stride  standing  forward-downward  bending,  alternating 

with  arm  stretching  downward.  (On  signal  once,  then  in  moder- 
ate, even  rhythm.) 

5.  "Archery."     Shooting  up   into  the  air.      (See   Series   VII,   lesson 

?•) 

6.  Hip  grasp  standing  alternate  knee  upward  bending.     (Rhythmic.) 

7.  Neck  grasp  stride  standing  alternate  trunk  twisting   (two  counts 

each  way).  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements.) 


254  GYMNASTIC  TEACHING 

8.  Arm  bend  forward  walk  standing  forward  bending  of  trunk  45°. 

(Slow,  restrained  movement  on  signal  three  times  each  side.) 

9.  Hip  grasp  standing  jumping  on  toes  alternately  to  left  and  right 

(feet  together). 

10.    High  arm  circling   (two  counts)   with  backward  moving  of  head 
and  breathing. 

III.  Apparatus  work,  etc. 

a.  Boom   and   horizontal   ladder :    Rotary   hand    travelling    forward. 

Standing  swing  jump. 

b.  Bar  stalls  :  As  before.     Also  try  side  lying  side  bending. 

c.  Running  oblique  high  jump  from  each  foot. 

or  On   mats:    Standing  hop,   step  and  jump;   three   standing  broad 
jumps. 

IV.  Run,  etc. 

Lesson  8. 

I.     Marching.     Squads  right  and  left  complete,  by  both  ranks. 
II.     1.    Arm   bend    standing   arm    stretching    upward    with    heel    raising. 
(Rhythmic.) 

2.  Hip  grasp  ivldc  stride  standing  alternate  knee  bending    (all  the 

way    from   one   side   to   the   other    in   one    movement).      (Slow 
rhythm.) 

3.  Neck  grasp  forward  walk  standing  backward  moving  of  head  with 

chest  expansion.     (On  signal  three  times  on  each  side.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  up- 

ward.    (On  signal  once,  then  in  fairly  quick  rhythm.) 

5.  Hip    grasp     standing    alternate    leg    flinging    sideways.       (Slow 

rhythm.) 

6.  Arm  bending  with  alternate  foot  placing  sideways,  and  trunk  twist- 

ing  (to  side  of  moved   foot).      (On  signal  one   round,  then  in 
slow  rhythm;  all  movements  quick;  positions  well  marked.) 

7.  Arms  side-horizontal  toe  standing  march  steps  forward  and  back- 

ward (on  counts  for  each  step).     (Vary  intervals.) 

8.  Neck   grasp    stride    standing    forward-downward    bending.      (On 

signal  four  to  six  times.) 

9.  Jumping  on  toes  with  foot  placing  forward-backward  and  oppo- 

site arm  flinging  forward-backward. 

10.    Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 
breathing. 

III.  Apparatus  work,  etc. 

a.  Ropes:   Climbing.     Also  preparation   for   swing  jump:   run,   jump 

to  bent  arm  hanging  position,  dismount  on  next  backward  swing. 
Later  try  swing  jump. 

b.  Box :   Face  vault.      Low   side   vault    (at   first   "helping"   with   one 

foot), 
or  Buck  :  Straddle  vault.     Low  side  vault.  Knee  vault. 

IV.  Run,  etc. 

Lesson  9. 

I.     Marching  as  before.     Add  "Squads  left  and  right  about  march." 
II.     1.    Arm  bend  stride  standing  arm  stretching  sideways  with  quick  knee 
bending.     (Rhythmic.) 

2.  Hip   grasp   standing   alternate    heel-and-toe    raising.      (Rhythmic.) 

3.  Arms   overhead    standing   "stretching."      (See   Series   VII,   lesson 

3.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  255 

4.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward- 

downward  bending.  (On  signal  once,  then  in  moderate,  even 
rhythm.) 

5.  Neck  grasp  stride  standing  side  bending  all  the  way  in  one  move- 

ment.    (Slow  rhythm;  slow  movement.) 

6.  Arm   bending   and   stretching   upward,   sideways   and   downward. 

(Uneven  rhythm.) 

7.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 

forward.  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements.) 

8.  Arm  bend  stride  standing  trunk  twisting  all  the  way  in  one  move- 

ment, alternating  with  arm  stretching  sideways.  (On  signal 
one  round,  then  in  slow  rhythm ;  all  movements  quick ;  positions 
marked.) 

9.  Hip  grasp   standing  toe  jumping  alternately   forward  and  back- 

ward (feet  together). 

10.    Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 
and  breathing. 

III.  Apparatus  work,  etc. 

a.  Low    boom :    Heel-support    hanging    arm    bending ;    alternate    leg 

raising;  hand  travelling  sideways.     Try  front  rest   (with  assist- 
ance), 
or  Rings  :  Rotary  travelling  forward.     Or  Giant  stride. 

b.  Saddle  boom:   Squat  mount,   rising  dismount;   squat  vault;   side 

vault. 

or  Horse  (without  pommels)  :  Oblique  (back)  vault, 
or  Standing  high  jump  forward  or  sideways. 

IV.  Run,  etc. 

Lesson  10. 

I.     Marching  as  before.    Add  "Column  left  and  right  march." 
II.     1.    Arm  bend   forward  walk  standing  arm   stretching  sideways  with 
heel  raising.      (Rhythmic.) 

2.  Alternate  side  lunge  with  hands  on  hips.     (Rhythmic.) 

3.  Arms  side-horizontal  (palms  up)   standing  arm  raising  with  back- 

ward moving  of  head  and  chest  expansion.  (On  signal  four  or 
five  times.) 

4.  Arm  bend  u'ide  stride  standing  downward  bending,  touching  floor, 

alternating  with  arm  stretching  downward.  (On  signal  once, 
then  in  fairly  quick  rhythm.) 

5.  Alternate   foot   placing   sideways   with   hands   on   neck,   and  trunk 

twisting.      (On  signal  one  round,  then  in  moderate  rhythm.) 

6.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward : 

change  feet  with  a  jump.  (On  signal  six  to  eight  times;  varied 
intervals.) 

7.  "Horseshoe  bend."     (See  Series  VII,  lesson  12.) 

8.  Alternate  oblique  charge  with  hands  on  hips.      (See   Scries  VII, 

lesson  14.) 

9.  Hip  grasp  standing  jumping  on  toes  with   foot  placing  sideways, 

alternating  with  foot  placing  forward-backward   (and  together). 
(Rhythmic.) 
10.    High  arm  circling   (two  counts)   with  breathing. 

III.  Apparatus  work,  etc. 

(For  further  progression  of  apparatus  work,  see  Appendix.) 

IV.  Run,  etc. 


256  GYMNASTIC  TEACHING 

Lesson   ii. 

I.     Marching  as  before. 

II.     1.  "Arm    forward    bend    standing    arm    Hinging    sideways    with    heel 
raising.     (Rhythmic.) 

2.  Alternate  toe  touching  sideways  with  opposite  knee  bending  and 

placing  hands  on  neck.      (Rhythmic.) 

3.  Arm  bending  and  stretching  upward  and  slow  sinking  sideways- 

downward  with  backward  moving  of  head  (three  counts).  (Un- 
even rhythm:  first  and  second  quick,  third  slow.) 

4.  Hip  grasp  standing  stooping,  touching  floor  alternately  with  left 

and  right  hand  (turning  head  and  shoulders  in  opposite  direc- 
tion). (Rhythmic.) 

5.  Arm  bend  stride  standing  side  bending    (two  counts  each  way), 

alternating  with  arm  stretching  sideways.  (On  signal  one  round, 
then  in  slow,  uneven  rhythm  :  first  and  second  slow,  third  and 
fourth  quick.) 

6.  Hip  grasp  toe  standing  alternate  knee  upward  bending.     (Rhyth- 

mic.) 

7.  Arm  bending  and  stretching  forward.      (On   signal  a  few  times. 

See  that  hands  are  at  least  shoulder  distance  apart,  chest  well 
out,  shoulders  low.  Later  in  even  rhythm.) 

8.  Alternate  forward  charge  with  hands  on  hips.      (See  Series  VII, 

lesson  16.) 

9.  Hip  grasp  standing  jumping  on  toes  with  crossing  of  feet  on  every 

jump.     (Rhythmic.) 
10.    Arm  bend   standing  slow  arm  stretching  upward  with  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson   12. 

I.     Marching.     Add  "Platoons  column  right   (left)"  when  in  column  of 

squads. 

II.     1.    Ann   flinging   forward   with   knee   bending,   alternating   with   arm 
flinging  sideways  with  knee  bending,  heels  off.      (Rhythmic.) 

2.  Alternate    foot    placing    sideways    with    hands    on    hips,    and    heel 

raising.  (On  signal  one  round,  then  in  fairly  slow  rhythm; 
quick  movements.) 

3.  Arms   overhead   standing   arm   parting    (to   arms   side-horizontal, 

palms  up)  with  backward  moving  of  head  and  chest  expansion. 
(On  signal  four  to  six  times.) 

4.  Arm  bend  standing  forward-downward  bending,  alternating  with 

arm  stretching  sideways.  (On  signal  once,  then  in  moderate, 
even  rhythm.) 

5.  Hip  grasp   standing  position   on  one    foot,   the   other  raised    side- 

ways :  change  feet  with  a  jump.  (On  signal  six  to  eight  times; 
varied  intervals.) 

6.  Arm  bending  and  stretching  forward  and  downward.      (Even  and 

uneven  rhythm.) 

7.  Alternate  oblique  charge  with  hands  on  neck.      (On   signal  once, 

then  in   slow   rhythm;   quick  movements.) 

8.  Arm  bending  with  alternate  foot  placing  forward,  and  trunk  twist- 

ing (to  side  of  moved  foot).  (On  signal  one  round,  then  in 
slow,  even  rhythm  ;  all  movements  quick.) 

''.  Standing  jump  sideways  with  arm  flinging  t<>  same  side  (four 
counts).  (On  "One!"  rise  on  toes  with  arm  raising  to  opposite 
side;  on  "T-ii'o!"  jump  sideways  with  arm  flinging  to  same  side, 


PROGRESSION  OF  GYMNASTIC  LESSONS  257 

landing  with  knee  bending  and  hands  at  sides;  "Three!"  and 
"Four!"  as  usual. 

10.    Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with 
backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  /j. 

I.     Marching   as   before.      Add    "Squads    right    (left),    platoons   column 

right  (left)"  from  a  halted  or  marching  line  formation. 
II.     1.    Low  arm  circling,  palms  up,  with  alternate  foot  placing  sideways. 
(On  signal  one  round,  then  in  slow  rhythm;  quick  movements; 
later  start  at  once  in  rhythm.) 

2.  Hip  grasp  standing  heel  raising  and  knee  bending  half-way  and 

all  the  way  down.     (Uneven  rhythm.) 

3.  Arm  bend  forward  walk  standing  slow  arm  stretching  obliquely 

upward  with  backward  moving  of  head  and  chest  expansion. 
(On  signal  three  times  each  side.) 

4.  (1)    Arm  bending;    (2)    (double)    foot   placing   sideways    (wide 

jump)  with  downward  bending,  touching  floor;  (3)  trunk  rais- 
ing with  arm  bending;  (4)  jump  to  fundamental  position.  (On 
signal  once,  then  in  gradually  accelerating  rhythm.) 

5.  One  hand  on  hip  standing  leg  flinging  sideways  left  and  right  with 

opposite  arm  flinging  sideways-upward.  (Rhythmic.  At  first 
stop  to  change.  Later  change  without  stopping.) 

6.  Arm  bending  and  stretching  forward  and  upward.      (Even  and 

uneven  rhythm.) 

7.  Alternate   forward  charge  with  hands  on  neck.      (On  signal  one 

round,  then  in  slow  rhythm;  quick  movements.) 

8.  Hip  grasp  standing  balance  march  with  knee  upward  bending  and 

stretching  forward-downward  (three  counts).  (On  signal  one 
round,  then  in  slow,  uneven  rhythm :  first  and  second  quick, 
third  slow.  Transfer  weight  smoothly  and  completely  on  third 
count.) 

9.  Arm  bend  standing  jumping  on  toes  with   foot  placing  sideways 

and  arm  stretching  sideways  or  upward   (or.  later,  alternating). 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  14. 

[.     Marching  as  before.     Add  "Right  (left)  by  squads"  from  line  forma- 
tion. 

II.     1.    Alternate   side   lunge   with   hands   on   neck.      (Try   in   rhythm    at 
once.) 

2.  Alternate  foot  placing  forward  with  hands  on  hips,  and  heel  rais- 

ing. (On  signal  one  round,  then  in  moderate  rhythm;  quick 
movements:  positions  distinct;  weight  equally  on  both  feet 
throughout.) 

3.  Arm  flinging  forward,  then   sideways,  palms   up,   with  backward 

moving  of  head,  then  slow  sinking.  (On  signal  once,  then  in 
uneven  rhythm:  first  and  second  quick,  third  slow.) 

4.  Arm  bend  standing  stooping,  alternating  with  arm  stretching  up- 
.        ward.     (On  signal  once,  then  in  fairly  quick,  even  rhythm.) 

5.  Alternate    foot    placing    forward    with    hands    on    neck,    and    quick 

trunk  twisting  (to  side  of  moved  foot).  (On  signal  one  round, 
then  in  moderate,  even  rhythm;  all  movements  quick.) 


258  GYMNASTIC  TEACHING 

6.  Toe-support  (reverse)  charge  with  (placing)  hands  on  hips.     (On 

signal  the  first  time;  later  in  slow  rhythm;  quick  movements.) 

7.  Ann   bending  and   stretching   forward   and   sideways.      (Uneven 

rhythm.) 

8.  One  hand  on  hip,  one  hand  on  neck  stride  standing  alternate  side 

bending  (two  counts),  alternating  with  change  of  arm  position. 
(On  signal  one  round,  then  in  slow,  uneven  rhythm:  first  and 
second  slow,  third  quick.) 

9.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways, 

alternating  with  leg  flinging  forward  left  and  right  and  alter- 
nate. 

10.    Arm  raising  sideways-upward  with  backward  moving  of  head  and 
breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  15. 

I.     Marching.     Add  "Platoons  right  (left)  by  squads"  from  line  forma- 
tion. 

II.     1.    Arm    Hinging    forward    with    alternate     foot    placing    sideways. 
(Rhythmic.) 

2.  Alternate  toe  touching  forward  with  opposite  knee  bending  and 

placing  hands  on  hips.     (Try  in  rhythm  at  once.) 

3.  Arm  bend  forward  walk  standing  slow  arm  stretching  upward  with 

backward  moving  of  head  and  chest  expansion.  (On  signal 
three  times  each  side.) 

4.  Alternate   foot  placing  sideways   (wide  step)   with  hands  on  neck, 

and  forward-downward  bending.  (On  signal  once,  then  in 
moderate,  even  rhythm.) 

5.  Alternate  leg  flinging  sideways  with  opposite  arm   flinging   side- 

ways-upward.     (Rhythmic.) 

6.  Neck  grasp  standing  position  on  one  foot,  the  other  knee  raised : 

change  with  a  jump.  (On  signal  six  to  eight  times;  varied 
intervals.) 

7.  Arm   bending   with   alternate   oblique   charge,   and   trunk   twisting 

to  same  side  (four  counts).  (On  signal  one  round,  then  in 
slow  rhythm;  quick  movements.) 

8.  Arm  bending  and  stretching  one  sideways,  the  other  downward. 

(On  signal  one  round,  then  in  even  rhythm.) 

9.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward  : 

backward-forward  cut-step.  First  stop  to  change.  Later  change 
by  "break"  (foot  placing  sideways)  on  every  seventh  and  eighth 
count. 

10.    Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 
breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 

Lesson  1 6. 

I.     Marching.     Add   "Left    (right)    front   into   line"    when    in  column   of 

squads  or  line  of   platoons. 
II.     1.    Arm    bend    forward    walk   standing   arm    stretching   upward    with 

heel    raising.      (Rhythmic.) 

2.  Alternate  side  lunge  with  hands  on  hips,  and  alternate  km1*  bend- 
ing (once,  then  return  to  fundamental  position).  (On  signal 
one  nuind,  then  in  slow,  uneven  rhythm:  first  and  fourth  quick, 
second  and  third  slow.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  259 

3.  Stride  (or  oblique  walk)  twist  standing  high  arm  circling  (three 

counts)  with  backward  moving  of  head  and  chest  expansion. 
(On  signal  once,  then  in  moderate  uneven  rhythm:  first  and 
second  quick,  third  slow.  After  six  to  eight  repetitions  change 
to  other  side.) 

4.  (1)  Arm  bending  (or  placing  hands  on  neck)  ;  (2)    (double)  foot 

placing  sideways  (wide  jump)  with  downward  bending,  touching 
floor;  (3)  trunk  raising  with  arm  flinging  sideways,  palms  up; 
(4)  jump  to  fundamental  position.  (On  signal  once  or  twice, 
then  in  gradually  accelerating  rhythm.) 

5.  Arms  side-horizontal  standing  position  on  one  foot,  the  other  raised 

forward:  heel  raising.  (On  signal  two  or  three  times  each 
side.  Let  pupils  grasp  each  other's  hands  the  first  time.) 

6.  Alternate  foot  placing  sideways  with  hands  on  neck,  and  side  bend- 

ing (to  side  of  moved  foot).  (On  signal  one  round,  then  in 
slow,  uneven  rhythm :  first  and  fourth  quick,  second  and  third 
slow.) 

7.  Arm  flinging  sideways  with  alternate  forward  charge.     (On  signal 

one  round,  then  in  slow  rhythm;   quick  movements.) 

8.  Arm  bending  and   stretching   one   upward,   the  other  downward. 

(On  signal  one  round,  then  in  even  rhythm.) 

9.  Hip  grasp  standing  cut-step  backward    (  (1)   jump  on  left  foot, 

raising  right  backward ;  (2)  hop  on  left  foot,  swinging  right 
forward;  (3)  jump  on  right  foot  ("cutting"  and)  raising  left 
backward ;  (4)  hop  on  right,  swinging  left  forward.  Imitation 
a  round  or  two  the  first  time,  then  in  moderate  rhythm ;  swing 
forward  foot  high;  bend  knee  when  foot  is  raised  backward; 
halt  on  second  count,  feet  together.) 

10.    Arm  bend  standing  slow  arm  stretching  upward  with  backward 
moving  of  head  and  breathing. 

III.  Apparatus  work,  etc. 

IV.  Run,  etc. 


Series  IX. 
College  Men.    First  Year. 

Lesson  i. 

I.     Alignment  on   one   rank    (or  two,   if   class   is   large).      Practice   line 
march  and  halt,  then  count  twos  and  open  order  as  described  in 
Series  I  and  II.*    Right  and  left  facings  on  two  counts,  stopping 
on  first. 
II.     1.    Hand  clapping  overhead  with  heel  raising.      (Rhythmic.) 

2.  Hip  grasp  stride  standing  (quick)  knee  bending.     (Rhythmic.) 

3.  Arm  flinging  sideways,  palms  up,  with  backward  moving  of  head. 

(Fairly  slow   rhythm;   movements  quick;   positions  held   a   mo- 
ment.) 

4.  Knee  upward  bending  left  and  right,  grasping  knee  and   forcing 

it  up  as  high  as  possible.     (Use  double  time  marking,  accenting 
second  count.) 

5.  "Chopping  a  log."     (See  Series  I,  K-sson  1,  exercise  6.) 


260  GYMNASTIC  TEACHING 

6.  Arm  bending  and  stretching  downward.     Also  sideways.     (Even 

rhythm.) 

7.  Stride   standing   alternate   side   bending    (two  counts   each    side) 

with  opposite  arm  flinging  sideways-upward.  (Moderate 
rhythm;  quick  arm  movement.) 

8.  Standing   jump    forward    with    arm    flinging    forward    (on    four 

counts:  (1)  rise  on  toes  with  arms  forward;  (2)  swing  arms 
quickly  backward  and  forward  and  jump,  landing  on  toes,  with 
knee  bending  and  hands  at  sides;  (3)  straighten  knees;  (4) 
lower  heels.) 

9.  Hip  grasp  standing  jumping  on  toes,  first  without,  then  with  foot 

placing  sideways. 

10.    Arm  raising  sideways  with  backward  moving  of  head  and  breath- 
ing. 

III.  At  second  meeting  organize  class  in  squads  for  apparatus  work. 

IV.  Run,  toe  march;  breathing  exercise. 


Lesson  2. 

I.  Marching  and  open  order.  Right  and  left  two-count  facings  in  slow 
rhythm.  Movements  sharp  and  clean-cut,  intermediate  position 
distinctly  held  a  moment. 

II.  1.  Bending  and  stretching  of  fingers  and  wrists,  ten  counts  each  in 
fundamental,  arms  side-horizontal  and  overhead  positions. 
(Finger  movement  in  quick  rhythm;  wrist  movement  a  little 
slower.) 

2.  Arm  bending  with  heel  raising.     (Moderate  rhythm;  sharp  move- 

ments.) 

3.  Quick   low   arm   circling    (palms   up)    with   backward   moving   of 

head.  (Response  movement  on  "One!  Tivo!"  once  or  twice, 
then  in  moderate  rhythm;  movements  quick ;  positions  distinct.) 

4.  Arm    bend    standing    stooping,    alternating    with    arm    stretching 

downward.  (On  numeral  signals  once,  then  in  fairly  quick 
rhythm.) 

5.  Hip  grasp  stride  standing  side  bending  all  the  way  from  one  side 

to  the  other.     (In  slow  rhythm,  slow  and  steady  movement.) 

6.  Arm  bending  and  stretching  upward.     (Moderate,  even  rhythm.) 

7.  Hip  grasp  standing  knee  upward  bending  left  and  right.     At  first 

stop  to  change,  later  change  without  stopping.  (Single  time 
marking,  as  foot  strikes;  knee  as  high  as  possible,  foot  well  for- 
ward :  settle  on  both  feet  at  each  return  and  hold  the  standing 
position  a  moment.) 

8.  Stride  standing  "paddling"  movement.     (See  Series  IT,  lesson  3.) 
().    Forward  bending  of  arms,  then  arm  flinging  sideways  and  down- 
ward.    (On  three  signal  counts  once  or  twice,  then  in  moderate, 
even   rhythm;   movements  quick;   positions   strongly   marked.) 

10.  Standing  jump    upward    with    arm    flinging   overhead.      (On    four 

counts,  as  standing  jump  forward.) 

11.  Hip  grasp  standing  jumping  on  toes  with    foot  placing  forward- 

backward.  (Weight  equally  on  both  feet;  halt  on  second  count, 
with  feet  together.) 

12.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.     a.    Elementary  suspension  exercises  on  horizontal  ladder,  suspended 
parallel   bars,  high  or  low  horizontal  bar,  or  vertical  ropes. 


PROGRESSION  OF  GYMNASTIC  LESSONS  261 

b.  Elementary  vaulting  exercises  on  buck,  horse,  parallel  or  low 
horizontal  bars;  or  running  and  standing  high  jumps;  hop,  step 
and  jump;  standing  broad  jumps  and  elementary  tumbling.* 

Lesson  J. 

I.     Marching  and  open  order. 

II.     1.    Head  turning  from  one  side  to  the  other  in  one  quick  movement. 
(On  numeral  signal  and  in  slow  rhythm.) 

2.  Arm  flinging  sideways  with  heel  raising.      (Rhythmic.) 

3.  Stride  standing  arm  bending  with  quick  knee  bending.     (Rhyth- 

mic.) 

4.  High  arm  circling  with  backward  moving  of  head   (three  counts, 

all  quick).     (Even  rhythm.) 

5.  Arm  bend  zi'ide  stride  standing  hand  clapping  alternately  behind 

left  and  right  knee.     (Slightly  uneven  rhythm  best.) 

6.  Hip  grasp  standing  leg  flinging  forward-upward,  left  and  right. 

(At  first  stop  to  change;  later  change  without  stopping;  time 
marking,  etc.,  same  as  for  knee  upward  bending  left  and  right.) 

7.  Arm   bending   and    stretching   sideways   and    downward.      (Even 

rhythm.) 

8.  "Horizontal  rope  pull."     (See  Series  II,  lesson  9.) 

9.  Alternate   foot  placing   sideways   with    (placing)    hands   on   hips. 

(On  signal  one  round,  then  in  slow  rhythm;  quick  movements.) 

10.  Stride  standing  side  bending  all  the  way   from   one   side   to   the 

other    with    opposite    arm    raising    to    vertical.      (Slow    rhythm; 
slow  movements.) 

11.  Marking  time  and  running  in  place,  halting  on  two  counts.     Also 

changing  from  double  to  quick  time  on  four  counts. 

12.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways 

and  crossing  of  feet  on  return  jump. 

13.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  a.    Suspension  apparatus  work, 
b.    Jumping,  vaulting,  etc. 

IV.  Run,  march ;  breathing  exercise. 

Lesson  4. 

I.     Marching  and  open  order. 
II.     1.    Hip  grasp  standing  alternate  toe  raising.      (Rhythmic.) 

2.  Arm  flinging  forward  with  knee  bending,  heels  off.     (Rhythmic.) 

3.  Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with 

backward  moving  of  head  and  chest  expansion.      (On  signal.) 

4.  "Rowing."     (See  Series  I,  lesson  3.) 

5.  Neck  grasp  stride  standing  trunk  twisting  all  the  way  from  one 

side  to  the  other.     (Slow  rhythm;  quick  movements;  avoid  any 
movement  below  hips  by  keeping  knees  rigid.) 

6.  Hip  grasp  standing  position  on  one  foot :  change  feet  with  a  jump. 

(On  signal  only,  six  to  eight  times.) 

7.  Arm    bending    and    stretching    upward    and    downward.       (Even 

rhythm.) 


*Fi>r  progression  of  apparatus  work,  see  Appendix.  Arrange  series  of  five  to  eight 
exercises  (as  different  as  possible)  for  each  apparatus.  Rotate  squads  in  regular  order 
according  to  a  planned  schedule,  if  possible  using  two  pieces  of  apparatus  each  time: 
one  for  suspension  exercises  and  one  for  jumping  and  vaulting  or  tumbling. 


262  GYMNASTIC  TEACHING 

8.  Arms   side-horizontal   ividc   stride   standing   side-and-knee   bending 

all  the  way  from  one  side  to  the  other.     (Slow  rhythm;  slow 
movement;  no  position  held.) 

9.  Hip  grasp  standing   forward   bending  of   trunk  45°.      (On  signal 

counts  only,  five  or  six  times.) 

10.  Hand   clapping   overhead   with   alternate    toe    touching    sideways. 

(Rhythmic.) 

11.  Running  jump  forward  with  two  start  steps. 

12.  Arm   bending  with   alternate   foot   placing    forward.      (On   signal 

one  round,  then  in  slow  rhythm;  quick  movements.) 

13.  Hip   grasp   standing   toe  jumping   alternately    forward   and   back- 

ward  (feet  together). 

14.  High  arm  circling   (two  counts)   with  backward  moving  of  head 

and  breathing. 

III.  a.    Suspension  apparatus  work, 
b.    Jumping,  vaulting,  etc. 

IV.  Run,  etc. 

Lesson  5. 
I.     Marching. 

II.     1.    Head   turning   from   side  to   side,   followed   by  backward  moving 
of  head  (three  counts).     (On  signal  and  in  rhythm.) 

2.  Arm   bend    standing  arm   stretching   sideways    with   heel    raising. 

(Rhythmic.) 

3.  Hip  grasp  wide  stride  standing  alternate  knee   bending    (all   the 

way    from   one   side   to   the   other    in   one   movement).      (Slow 
rhythm.) 

4.  Head  grasp  standing  "stretching."     (See  Series  I,  lesson  3.) 

5.  Hip  grasp  stride  standing  downward  bending,  touching  floor  alter- 

nately  with   left   and   right  hand    (turning   head   and    shoulders 
to  opposite  side).     (Moderate  rhythm.) 

6.  "Climbing  ladder."      (Alternate  knee  upward  bending  with  oppo- 

site arm  raising  overhead.     Rhythmic  at  once;  no  position  held.) 

7.  Hip  grasp  stride  standing  alternate  side  bending  (two  counts  each 

side).     (On  signal  one  round,  then  in  slow  rhythm;  slow  move- 
ments.) 

8.  Arm    bending    and    stretching    upward    and     sideways.       (Even 

rhythm.) 

(>.  Hip  grasp  standing  heel  raising  and  knee  bending  (four-count 
movement).  (On  signal  once  or  twice,  then  in  slow  rhythm; 
slow  or  quick  movements.) 

10.  Neck  grasp  stride  standing  quick  trunk  twisting  all  the  way  from 

one  side  to  the  other.     (On  signal  and  in  slow  rhythm.) 

11.  Arm     flinging    sideways     with     alternate    toe     touching     forward. 

(Rhythmic.) 

12.  Arm    bend    standing   slow    forward   bending   of    trunk   45°.      (On 

signal   five  or  six  times.) 

13.  "Jumping  Jack."      (Jumping   on   toes   with    foot   placing  sideways 

and  hand  clapping  overhead.) 

14.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  a.    Suspension  apparatus  work. 
b.    Jumping,  vaulting,  etc. 

IV.  Run,  etc. 

Lesson  6. 
I.     Marching. 

II.     1.    Arm  flinging  sideways  with  knee  bending,  heels  off.     (Rhythmic.) 
2.    Arm   bending  with   alternate    foot    placing   sideways.      (On   signal 


PROGRESSION  OF  GYMNASTIC  LESSONS  263 

one  round,  then  in  slow  rhythm ;  quick  movements ;  positions 
well  marked.) 

3.  Arm  bend  standing  slow  arm  stretching  upward  with  backward 

moving  of  head  and  chest  expansion.  (On  signal  four  to  six 
times.) 

4.  "Striking  the  anvil."      (With   feet  wide  apart,   swing  right  arm 

sideways  and  overhead,  then  downward  and  to  left,  striking  left 
hand,  bending  left  knee  and  turning  body  to  left  at  same  time. 
After  ten  to  sixteen  repetitions  change  to  other  side.) 

5.  Arm  bending  and  stretching  forward.     (On  signal  once  or  twice, 

making  sure  of  correct  position  of  head,  chest  and  shoulders; 
then  in  even  rhythm.) 

6.  Hip  grasp  standing  leg  flinging  sideways  left  and   right.      (See 

knee  upward  bending,  lesson  2.) 

7.  Arm  bend  stride  standing  trunk  twisting  all  the  way  in  one  move- 

ment, alternating  with  arm  stretching  downward  (three  counts). 
(On  signal  once,  then  in  slow  rhythm;  quick  movements;  posi- 
tions held ;  no  movement  below  hips ;  knees  rigid ;  head  kept 
steady  on  shoulders.) 

8.  Arms    side-horizontal    standing    small    arm    circles    (continuous). 

(Arms  well  back  throughout). 

9.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward : 

change  feet  with  a  jump.  (On  signal  six  to  eight  times;  varied 
intervals.) 

10.  Neck  grasp  stride  standing  side  bending  all  the  way  in  one  move- 

ment.    (Slow  rhythm.) 

11.  Two  standing  broad  jumps.     (On  five  signal  counts.) 

12.  Arm  bend  standing  arm  stretching  sideways  with  alternate  foot 

placing  forward.  (On  signal  one  round,  then  in  slow  rhythm; 
quick  movements.) 

13.  Hip  grasp   standing  hopping   alternately   on   left   and   right   foot. 

Finish  with  hopping  eight,  four,  two  and  one  times  alternately 
left  and  right. 

14.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

III.  a.    Suspension  apparatus  work, 
b.    Jumping,  vaulting,  etc. 

IV.  Run,  etc. 

Lesson  7. 
I.     Marching. 

II.     1.    Placing  hands  on  neck  with  heel  raising.      (Rhythmic.) 

2.  Alternate  side  lunge  with  hands  on  hips.     (On  signal  one  round, 

then  in  slow  rhythm;  quick  movements.) 

3.  Arms   side-horizontal   standing  turning  of   hands  with   backward 

moving  of  head  and  chest  expansion.  (On  signal  five  or  six 
times.) 

4.  Arm  bend  standing  stooping   (deep  knee  bending,  touching  floor 

between  feet,  straight  back),  alternating  with  arm  stretching 
sideways.  (On  signal  once,  then  in  fairly  quick  rhythm.) 

5.  Neck   grasp    stride    standing   quick   trunk   twisting    all    the    way. 

(Rhythmic.) 

6.  Hip  grasp  standing  alternate  knee  upward  bending.     (Knee  high, 

foot  well  forward ;  moderate  rhythm ;  no  position  held ;  mark 
time  as  foot  strikes.) 

7.  Arm    bending    and    stretching    forward    and    downward.       (Even 

rhythm.) 


264  GYMNASTIC  TEACHING 

8.  "Horseshoe  bend."     (With  feet  wide  apart,  bend  to  left  with  right 

arm  flinging  overhead  and  right  knee  bending.  Same  on  other 
side.) 

9.  Hi]>  grasp  toe  standing  march  steps  forward  (on  signal  counts  for 

each  step). 

10.  Arm    flinging    sideways    and    upward,    sideways    and    downward 

(turning  hands  on  second  and  fourth  counts).  (Slow  rhythm; 
quick  movements.) 

11.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  side- 

ways: change  feet  with  a  jump.  (On  signal  six  to  ten  times; 
varied  intervals.) 

12.  Neck  grasp  stride  standing  forward-downward  bending  (to  hori- 

zontal and  beyond,  if  possible,  with  straight  upper  back).  (On 
signal  four  to  six  times.) 

13.  Hip  grasp  standing  jumping  on  toes  with   foot  placing  sideways 

and  together,  forward-backward  and  together  ("making  the 
cross"). 

14.  Arm  bend  standing  slow  arm  stretching  sideways  with  backward 

moving  of  head  and  breathing. 

III.  a.    Suspension  apparatus  work. 
b.    Jumping,   vaulting,   etc. 

IV.  Run,  etc. 

Lesson  8. 
I.     Marching. 

II.     1.    Arm  forward  bend  standing  arm  flinging  sideways  with  heel  rais- 
ing.    (Rhythmic.) 

2.  Alternate  toe  touching  sideways  with  opposite  knee  bending  and 

placing  hands  on  hips.     (Rhythmic.) 

3.  Arm  bend   standing  slow  arm   stretching  upward  with  backward 

moving  of  head  and  chest  expansion.  (On  signal  four  to  six 
times.) 

4.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward- 

downward  bending.  (On  signal  one  round,  then  in  even 
rhythm.) 

5.  "Driving  stakes."     (With  feet  apart  and  clenched  hands  in  front, 

swing  arms  behind  shoulder  with  sharp  trunk  twisting  to  same 
side ;  continue  the  arm  movement  up  overhead  with  untwisting 
of  trunk;  then  a  swift  stroke  straight  downward  with  quick 
knee  bending.  Rack  straight  and  nearly  erect.) 

u.  Hip  grasp  standing  alternate  leg  flinging  sideways.  (Settle  on 
both  feet  and  hold  position  a  moment  after  each  swing;  mark 
time  as  foot  strikes.) 

7.  Arm    bending    and    stretching    forward    and    sideways.       (Even 

rhythm.) 

8.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 

forward.  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements;  positions  held;  stop  unexpectedly  on  third  count 
occasionally.) 

9.  Neck  grasp  standing  slow  forward  bending  of  trunk  45°,  alternat- 

ing with  placing  hands  on  hips.  (On  signal  once,  then  in  slow, 
uneven  rhythm:  first  two  counts  slow  and  restrained,  last  two 
quick  and  sharp.) 

10.  Arm  bending  with  alternate  foot  placing  sideways,  and  trunk  twist- 

ing (to  side  of  moved  foot).  (Slow,  even  rhythm;  all  move- 
ments quick;  positions  held.) 

11.  Alternate    oblique   charge    with    (placing)    hands    on    hips.      (On 


PROGRESSION  OF  GYMNASTIC  LESSONS  265 

signal  until  majority  get  correct  position,  then  in  slow  rhythm; 
quick  movements.) 

12.  Continuous  quick  high  arm  circles  with  crossing  of  forearms  on 

up-stroke.     (Fairly  quick  rhythm.) 

13.  Hip  grasp   standing  position   on   one   foot,  the  other   raised   for- 

ward:  cut-step  backward-forward.  (Halt  on  two  counts  with 
feet  together.  Repeat  with  the  other  foot  forward.) 

14.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  p. 
I.     Marching. 

II.     1.    Arms  side-horizontal  (palms  up)  stride  standing  arm  raising  with 
knee  bending.     (Slow  rhythm;  slow  or  quick  movements.) 

2.  Hip   grasp   standing   alternate   heel-and-toe    raising.      (Rhythmic.) 

3.  Neck  grasp  standing  backward  moving  of  head  with  chest  expan- 

sion.    (On  signal  five  or  six  times.) 

4.  Arm  bend  stride  standing  forward-downward  bending,  alternating 

with  arm  stretching  sideways.  (On  signal  once,  then  in  moder- 
ate, even  rhythm.) 

5.  One  hand  on  hip,  one  hand  on  neck  stride  standing  side  bending 

(to  side  of  lower  hand),  alternating  with  change  of  arm  position 
(three-count  movement).  One  round  on  signal,  then  in  uneven 
rhythm:  first  and  second  slow,  third  quick). 

6.  Arm    bending    and    stretching    forward    and    upward.       (Even 

rhythm.) 

7.  Hip  grasp  standing  alternate  leg  flinging  forward.     (See  leg  fling- 

ing sideways.) 

8.  Arm  bend  stride  standing  trunk  twisting  all  the  way  in  one  move- 

ment, alternating  with  arm  stretching  sideways  (three  counts). 
(Slow,  even  rhythm;  all  movements  quick;  positions  held  a 
moment.) 

9.  Balance  march.      (At   first  on   signal  counts   for  each   step,   then 

in  slow  rhythm;  slow  movements.) 

10.  High  (quick)  arm  circling  (two  counts)  with  alternate  toe  touch- 

ing sideways.  (Fairly  quick  rhythm,  but  positions  held  a 
moment.) 

11.  Alternate  forward  charge  with  placing  hands  on  hips.     (On  signal 

until  majority  get  correct  position,  then  in  slow  rhythm;  move- 
ments as  quick  as  possible.) 

12.  Neck  grasp    (or  arms   obliquely   overhead)    lying   alternate   knee 

upward  bending  (two  counts  each  side,  or  both  moving  simul- 
taneously). Also  knee  upward  bending  and  stretching  (to  45° 
position).  Alternate  or  both  at  same  time. 

13.  Hip  grasp   standing  position  on  one   foot,  the  other  raised   side- 

ways:  cut-step  sideways.  (Halt  on  second  count  with  feet 
together.) 

14.  Ann  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  TO. 
I.     Marching. 
II.     1.    Arms  front-horizontal  standing  arm  flinging  sideways,  palms  up, 

with  heel  raising. 
2.    Neck  grasp  ivide  stride  standing  alternate  knee  bending. 


266  GYMNASTIC  TEACHING 

3.  Arms  overhead   standing  arm  parting   (to  side-horizontal,   palms 

up)  with  backward  moving  of  head  and  chest  expansion.  (Re- 
sponse movement  four  to  six  times.) 

4.  Arm  bend  icidc  stride  standing  downward  bending,  touching  floor 

(upper  back  and  knees  straight),  alternating  with  arm  stretch- 
ing downward.  (On'  signal  once,  then  in  even,  fairly  quick 
rhythm;  quick  movements.) 

5.  Alternate    foot   placing   sideways   with   hands   on   neck,   and   trunk 

twisting  (to  side  of  moved  foot).  (Slow,  even  rhythm;  all 
movements  quick.) 

6.  Hip  grasp  toe  standing  alternate  knee  upward  bending.    (Moderate 

rhythm.) 

7.  Arm   bending  and   stretching   upward,    sideways   and    downward. 

(Even  and  uneven  rhythm:  holding  stretched  position  a  little 
longer  than  the  bent  position.) 

8.  Alternate  toe-support    (reverse)    charge   with    (placing)    hands   on 

hips.  (On  signal  until  majority  get  correct  position,  then  in 
slow  rhythm,  holding  positions  long  but  moving  swiftly.) 

9.  Neck  grasp   stride   standing   alternate   side   bending    (two   counts 

each  way).  (On  signal  one  round,  then  in  slow  rhythm;  slow 
movements.) 

10.  Front  leaning  rest  and  return    (four  counts).      (On  signal  once, 

then  in  moderate  rhythm.) 

11.  Arm  flinging  sideways  with   alternate   toe  touching   forward  and 

(simultaneous)    opposite  knee   bending.      (Rhythmic.) 

12.  "Short  stop  catching  a  high  liner  and  throwing  to  first  or  third 

base."  (  (1)  Arm  flinging  overhead  with  heel  raising;  (2) 
right  hand  throw  with  trunk  twisting  to  left  and  stepping  out 
obliquely  to  left;  (3)  return  to  fundamental  position,  bringing 
right  foot  to  left.  After  six  to  eight  repetitions  in  slow  rhythm, 
change  to  other  side.) 

13.  Hip  grasp  standing  toe  jumping  alternately  to  left  and  right   (feet 

together). 

14.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  n. 
I.     Marching. 

II.     1.    High   (quick)  arm  circling  (two  counts)  with  alternate  foot  plac- 
ing sideways.     (On  signal  one  round,  then  in  slow  rhythm.) 

2.  Hip  grasp  standing  heel  raising  and  knee  bending,  first  half-way, 

then  (after  a  few  repetitions)  all  the  way  down  (four  counts). 
(Rhythm  first  even,  then  uneven,  holding  second  and  third 
count  longest.) 

3.  Neck  grasp  forward  walk  standing  backward  moving  of  head  with 

chest  expansion.  (On  signal  three  times  with  each  foot  for- 
ward.) 

4.  Arm  bend  stride  standing  forward-downward  bending  (to  horizon- 

tal and  beyond,  if  possible,  but  with  upper  back  straight  and 
head  up),  alternating  with  arm  stretching  upward.  (On  signal 
once,  then  in  moderate,  even  rhythm.) 

5.  One  hand  on  hip  standing  leg  flinging  sideways  left  and  right  with 

opposite  arm  flinging  sideways-upward.  (Slow  rhythm;  quick 
movements.) 

6.  Hip  grasp  standing  balance  march  with  knee  upward  bending  and 

stretching  forward-downward    (three  counts  each  side).      (First 


PROGRESSION  OF  GYMNASTIC  LESSONS  267 

on  signal,  then  in  slow,  uneven  rhythm :  first  and  second  counts 
quick,  third  slow  and  steady.) 

7.  Arm  bending  and  stretching  one  sideways,  the  other  downward. 

(On  signal  one  round,  then  in  even  rhythm.) 

8.  Alternate  oblique  charge  with  hands  on  neck.      (On   signal  one 

round,  if  necessary.  Otherwise  start  at  once  in  slow  rhythm, 
holding  positions  long,  but  moving  with  utmost  speed.) 

9.  Arm  bend  stride  standing  trunk  twisting  all  the  way  from  one 

side  to  the  other  in  one  (quick)  movement,  alternating  with 
arm  stretching  upward.  (On  signal  once,  then  in  slow  rhythm.) 

10.  Arms   side-horizontal    standing  position    on   one    foot,    the   other 

raised  forward:  knee  bending  (supporting  leg).  (On  signal 
three  or  four  times  on  each  side;  slow  movement.) 

11.  Alternate    foot    placing    sideways    with    hands    on    hips,    and    side 

bending  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  slow,  uneven  rhythm :  first  and  fourth  counts  slow,  second 
and  third  quick;  all  positions  held  fairly  long.) 

12.  Neck   grasp   lying  alternate   leg   raising   to   vertical    (two   counts 

each  side,  or  both  moving  simultaneously  in  opposite  direction). 
Also  raising  of  both  legs.  (The  alternate  movement  is  fairly 
quick  and  repeated  in  rhythm ;  the  double  leg  raising  is  slow  and 
best  done  on  signal,  though  may  be  rhythmic.) 

13.  Jumping  on  toes   with   arm    flinging   sideways-upward   and    foot 

placing  sideways  and  with  crossing  of  feet  on  return  jump. 
(Rhythmic.) 

14.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  12. 
I.     Marching. 

II.     1.    Arm    bend    standing   arm    stretching    upward    with    heel    raising. 
(Rhythmic.) 

2.  Alternate  side  lunge  with  hands  on  neck.     (Rhythmic.) 

3.  Arms  side-horizontal   (palms  up)   standing  arm  raising  with  back- 

ward moving  of  head  and  chest  expansion.  (Response  move- 
ment four  to  six  times.) 

4.  (1)   Arm  bending;   (2)    foot  placing  sideways   (wide  jump)   with 

downward  bending,  touching  floor;  (3)  trunk  raising  with 
arm  bending;  (4)  jump  to  fundamental  position.  (On  signal 
once,  then  in  rhythm.) 

5.  Alternate    foot   placing    forward   with   hands   on    neck,    and   trunk 

twisting  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  slow,  even  rhythm;  all  movements  quick.) 

6.  Arm  bending  and   stretching  one   upward,   the   other   downward. 

(Rhythmic.) 

7.  Hip    grasp    toe    standing   knee    upward    bending    left    and    right. 

(Rhythmic.) 

8.  High  (quick)  arm  circling  (two  counts)  with  alternate  toe  touch- 

ing forward  (without  or  with  slight  opposite  knee  bending). 
(Rhythmic.) 

9.  Hip  grasp  wide  stride  standing  alternate  side-and-knee   bending. 

(On  signal  until  majority  get  correct  execution,  then  in  slow 
rhythm;  slow  movements;  two  counts  each  side.) 

10.  Arm  bending  and  stretching  forward,  upward,  sideways  and  down- 

ward.    (Even  and  uneven  rhythm.) 

11.  Front  leaning  rest,    (double)    foot   placing   forward  and  backward 


268  GYMNASTIC  TEACHING 

(once),  and  return  to  standing  position  (six  counts).  (On  signal 
once,  then  in  moderate  rhythm.) 

12.  "Putting  the  shot."     (  (1)   Raise  right  hand  above  shoulder  with 

elbow  well  back,  left  arm  sideways,  turn  head  to  left,  body  lean- 
ing to  right,  move  foot  sideways  with  toe  lightly  touching  floor ; 
(2)  hop  in  direction  faced;  (3)  leap  and  turn  180°  to  left, 
stretching  right  arm  obliquely  upward  while  swinging  left  arm 
backward,  landing  with  weight  on  right  foot,  right  knee  bent, 
left  leg  straight,  foot  touching  floor  lightly ;  (4)  return  to  funda- 
mental position,  bringing  left  foot  up  to  right.  After  six  to 
eight  repetitions  in  rhythm,  change  to  other  side.) 

13.  Hip  grasp  standing  cut-step  backward.     (  (1)  Jump  on  left  foot, 

raising  right  backward ;  (2)  hop  on  left,  swinging  right  for- 
ward;  (3)  jump  on  right,  raising  left  backward;  (4)  hop  on 
right,  swinging  left  forward,  etc.) 

14.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work.    . 

IV.  Run,  etc. 

Scries  X. 

College  Men.    Second  Year. 

Lesson  I. 

I.     Alignment  on  one  or  two  ranks.     Review  line  marching,  halts,  to  the 
rear,  by  the  left  and  right  flank  march.     Then  count  twos  and 
open  order  by  forward  and  backward  steps. 
II.     1.    Arm  bending  with  heel  raising.     (Rhythmic.) 

2.  Arm  flinging  sideways  with  knee  bending   (heels  leaving  floor). 

(Rhythmic.) 

3.  High  (quick)  arm  circling  (three  counts)  with  backward  moving 

of  head.     (Rhythmic.) 

4.  Hip  grasp  wide  stride  standing  downward  bending,  touching  floor 

alternately  with  left  and  right  hand,  turning  head  and  shoulders 
to  opposite  side.  (Rhythmic.) 

5.  Arm   bending   and    stretching   sideways    and    downward.      (Even 

rhythm.) 

6.  Hip  grasp  standing  knee  upward  bending  left  and  right.     (Rhyth- 

mic.) 

7.  Arm    flinging    forward,    sideways     (palms    up)     and    downward. 

(Rhythmic.) 

8.  Hip   grasp   stride    standing   side   bending   all   the   way    from    one 

side  to  the  other.     (Moderately  slow  rhythm;  slow  movement.) 

9.  "Jumping  Jack."      (Jumping  on   toes  with   foot  placing  sideways 

and  hand  clapping  overhead.) 
10.    Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Organize  class  for  apparatus  work. 

IV.  Run,  toe  march;  breathing  exercise. 

Lesson  2. 

I.  Marching.  Review  of  last  year's  work.  Facings  on  two  counts  in 
slow  rhythm;  later  right  and  left  facings  done  in  one  quick- 
movement.  Open  order  by  side  steps. 

II.     1.    Arm  flinging  sideways,  palms  up,  with  heel  raising.     (Rhythmic.) 
2,    Hij)  grasp  i^idc  stride  standing  alternate  knee  bending.      (Rhyth- 
mic.) 


269 

3.  Arm  bend  standing  slow  arm  stretching  upward  with  backward 

moving  of  head  and  chest  expansion.     (Response  movement.) 

4.  Hip  grasp  standing  leg  flinging   forward-upward   left  and   right. 

(Rhythmic.) 

5.  Neck   grasp   stride   standing    quick    trunk    twisting   all    the    way. 

(Slow  rhythm.) 

6.  Forward  bending  of  arms,  then  arm  flinging  sideways  and  down- 

ward (three-count  movement).  (On  signal  once,  then  in  slow 
rhythm.) 

7.  Arm  bend  stride  standing  forward-downward  bending   (as  far  as 

possible  with  straight  upper  back),  alternating  with  arm  stretch- 
ing downward.  (On  signal  once,  then  in  moderate,  even 
rhythm.) 

8.  Hip  grasp  standing  heel  raising  and  knee  bending    (half-way). 

(Four-count  movement  in  moderate  rhythm.  Each  position 
well  marked.) 

9.  Stride   standing  alternate   side  bending    (two   counts   each   way) 

with  opposite  arm  flinging  sideways-upward.  (Moderate 
rhythm.) 

10.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  forward- 

backward  and  together.      (Rhythmic.) 

11.  Standing  jump   forward    (on  four  counts).     Also  upward. 

12.  Arm  raising  sideways  with  backward  moving  of  head  and  breath- 

ing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  j. 

I.     Marching  and  open  order. 

II.     1.    Arm    bending-   with    alternate    foot    placing    sideways.       (Slow 
rhythm;  quick  movements.) 

2.  Hip  grasp  standing  alternate  heel-and-toe  raising.     (Rhythmic.) 

3.  Neck  grasp  stride  standing  backward  moving  of  head  with  chest 

expansion.     (Response  movement  five  or  six  times.) 

4.  Arm  bend  standing  stooping    (deep  knee  bending,  touching  floor 

between  feet,  back  inclined  forward,  but  straight),  alternating 
with  arm  stretching  sideways.  (Rhythmic.) 

5.  Hip  grasp  standing  leg  flinging  sideways  left  and  right.     (Rhyth- 

mic.) 

6.  Neck  grasp  standing  slow  forward  bending  of  trunk  45°.      (Re- 

sponse movement  four  to  six  times.) 

7.  "Driving  stakes."      (Repeatedly   on   each   side,   then   alternate.) 

8.  Hip  grasp  toe  standing  march  steps  forward  and  backward    (on 

signal  counts  for  each  step). 

9.  Arm  bending  and  stretching  upward  and  downward.     (Even  and 

uneven  rhythm.) 

10.  Hip  grasp  stride  standing  alternate  side  bending  (two  counts  each 

way).  (On  signal  one  round,  then  in  slow  rhythm;  slow  move- 
ment.) 

11.  Front  leaning  rest  and  return  (four  counts).    (Moderate  rhythm.) 

12.  Marking  time  and  running  in  place.     Change  from  double  to  quick 

time  on  four  counts. 

13.  Arm  bend  standing  slow  arm  stretching  sideways  with  backward 

moving  of  head  and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 


270  GYMNASTIC  TEACHING 

Lesson  4. 

I.     Marching.     Squads  right  and  left,  etc. 
II.     1.    Forward  bending  of  arms  with  heel  raising.     (Rhythmic.) 

2.  Alternate  side  lunge  with  hands  on  hips.     (On  signal  one  round, 

then  in  slow   rhythm;  quick  movements.) 

3.  Arm  raising  sideways-upward  with  backward  moving  of  head  and 

chest  expansion.     (Response  movement  five  or  six  times.) 

4.  Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward- 

downward  bending.    (On  signal  one  round,  then  in  even  rhythm.) 

5.  Arm  bend  stride  standing  trunk  twisting  all  the  way,  alternating 

with  arm  stretching  sideways   (three  counts).     (On  signal  once 
or  twice,  then  in  slow,  even  rhythm;  all  movements  quick.) 

6.  Hip  grasp  standing  alternate  knee  upward  bending.     (Rhythmic.) 

7.  Arm  bonding  and  stretching  upward  and  sideways.      (Even  and 

uneven  rhythm.) 

8.  Alternate  oblique  charge  with  hands  on  hips.     (On  signal  a  round 

or  two,  then  in  slow  rhythm;  quick  movements.) 

9.  Arm    flinging    forward,    sideways     (palms    up)     and    downward. 

(Rhythmic.) 

10.  Neck  grasp  stride  standing  side  bending  all  the  way  in  one  move- 

ment.    (Slow  rhythm;   slow  movements.) 

11.  Two   standing   broad   jumps.      (On   "One!      Tivo'.-Threc!      Four! 

Five!")      (Or  standing  jump  backward  on   four  counts.) 

12.  Hip  grasp  standing  jumping  on  toes  with   foot  placing  sideways 

and  crossing  of  feet  on  return  jump. 

13.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  5. 
I.     Alarching. 

II.     1.    Arm    bend    standing   arm    stretching    sideways    with    heel    raising. 
(Rhythmic.) 

2.  Hip  grasp  zt'ide   stride   standing  alternate   knee   bending.      (Slow 

rhythm.) 

3.  Neck   grasp    forward   walk   standing   backward   moving   of   head 

with  chest  expansion.      (On  signal  three  or  four  times  on  each 
side.) 

4.  Arm  bend  u'idc  stride  standing  downward  bending,  touching  floor 

(straight  knees  and  upper  back),  alternating  with  arm  stretching 
sideways. 

5.  Hip  grasp  standing  alternate  leg  flinging  sideways.      (Rhythmic.) 

6.  Arm    bending   and    stretching    forward    and    dowmvard.      (Even 

rhythm.) 

7.  Alternate    foot    placing    sideways   with   hands    on    neck,    and    trunk 

twisting   (to  side  of  moved  foot).     (On  signal  one  round,  then 
in  slow,  even  rhythm;  all  movements  quick.) 

8.  Arm   flinging  sideways-upward   with   alternate   toe   touching   for- 

ward and  slight  opposite  knee  bending.      (Rhythmic.) 

9.  Arm  bend  stride  standing  alternate  side  bending  (two  counts  each 

way),  alternating  with  arm  stretching  downward.  (On  signal 
one  round,  then  in  slow,  uneven  rhythm:  first  two  counts  slow 
and  restrained,  last  two  quick;  positions  well  marked.) 
10.  Hip  grasp  standing  alternate  knee  upward  bending  and  stretching 
forward.  (On  signal  one  round,  then  in  slow  rhythm;  quick 
movements.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  271 

11.  Arm  bending  and  stretching  obliquely  upward.     (Uneven  rhythm.) 

12.  Alternate  forward  charge  with  hands  on  hips.     (On  signal  once 

or  twice,  then  in  slow  rhythm;  quick  movements.) 

13.  Jumping   on   toes   with   arm   flinging   sideways-upward    and    foot 

placing  sideways,  crossing  hands  and  feet  on  return  jump. 

14.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  6. 
I.     Marching. 
II.     1.    Arm  flinging  sideways-upward  with  heel  raising.     (Rhythmic.) 

2.  Alternate  foot  placing  sideways  with  hands  on  hips,  and    (quick) 

knee  bending.  (On  signal  one  round,  then  in  slow,  even  rhythm  ; 
all  movements  quick;  hold  third  count  as  long  as  the  others, 
with  weight  equally  on  both  feet.) 

3.  Arm  bending  and  stretching  upward  and  slow  sinking  sideways- 

downward  (three  counts).  (On  signal  once,  then  in  fairly  slow, 
uneven  rhythm:  first  and  second  counts  quick,  third  slow.) 

4.  "Chopping  a  log."   (Rhythmic.) 

5.  Hip  grasp  standing  alternate  leg  flinging  forward.      (Rhythmic.) 

6.  Arm   bend  stride   standing  alternate   trunk  twisting    (two   counts 

each  way),  alternating  with  arm  stretching  sideways.  (On  sig- 
nal one  round,  then  in  slow,  even  rhythm;  quick  movements.) 

7.  Neck  grasp  forward  walk  standing  forward  bending  of  trunk  45°. 

(Slow,  restrained  movement  on  signal  three  or  four  times  each 
side.) 

8.  Arm    bending    and     stretching    forward     and     upward.       (Even 

rhythm.) 

9.  Alternate    foot    placing    sideways    with    hands    on    hips,    and    side 

bending.  (On  signal  one  round,  then  in  slow,  uneven  rhythm: 
first  and  fourth  counts  quick,  second  and  third  slow.) 

10.  Forward  bending  and  side  flinging  of  arms.     Return  in   reverse 

order.  (On  signal  once,  then  in  moderate  rhythm;  quick  move- 
ments.) 

11.  Hip   grasp   toe-support    (reverse)    charge.      (On   signal   until   ma- 

jority get  correct  position,  then  in  slow  rhythm;  movements 
done  with  utmost  speed;  positions  held  long.) 

12.  Standing  jump  sideways   (four  counts).     (On  signal.) 

13.  Jumping  on  toes  with  foot  placing  forward-backward  and  opposite 

arm  flinging  forward-backward. 

14.  Arm  raising  sideways,  palms  up,  with  backward  moving  of  head 

and  breathing. 

III.  Apparatus   work. 

IV.  Run. 

Lesson  7. 
I.     Marching. 

II.     1.    Arm  forward  bend  standing  arm  flinging  sideways  with  heel  rais- 
ing.     (Rhythmic.) 

2.  Alternate  toe  touching  sideways  with  opposite  knee  bending  and 

placing  hands  on  neck.     (Moderate  rhythm;  quick  movements.) 

3.  (1)    Arm    flinging    sideways,    palms    up;    (2)    placing    hands    on 

head;  (3)  slow  arm  stretching  upward  with  heel  raising  and 
backward  moving  of  head  with  chest  expansion;  (4)  slow  arm 
sinking  sideways-downward  (retaining  "stretched"  position). 
(On  signal  once  or  twice,  then  in  uneven  rhythm :  first  and 
second  quick,  third  and  fourth  very  slow  and  restrained.) 


272  GrMN.-lSTIC  TEACHING 

4.  Arm  bending  with  alternate  wide  foot  placing  sideways,  and  down- 

ward bending  touching  floor  (with  straight  knees  and  upper 
back).  (On  signal  one  round,  then  in  even  rhythm.) 

5.  Xeck  grasp  stride  standing  trunk  twisting  all  the  way,  alternat- 

ing with  placing  hands  on  hips  (three  counts).  (On  signal  one 
round,  then  in  slow  rhythm;  all  movements  quick.) 

6.  Arm  bending  with   alternate  oblique  charge.      (On   signal  and  in 

slow   rhythm;   quick  movements.) 

7.  Continuous    (quick)    high  arm  circles,   forearms  crossing  on  up- 

stroke.     (Quick  rhythm.) 

8.  Arms    side-horizontal    standing   position    on    one    foot,    the    other 

raised  forward:  change  feet  with  a  jump.  (On  signal  six  to 
eight  times;  varied  intervals.) 

9.  One  hand  on  hip  one  hand  on  neck  stride  standing  alternate  side 

bending  (two  counts  each  way),  alternating  with  change  of  arm 
position.  (On  signal  one  round,  then  in  uneven  rhythm:  first 
and  second  slow,  third  quick.) 

10.  Arm   bending    with   toe-support   charge.      (On    signal   and    in    slow 

rhythm.) 

11.  Arm    flinging    sideways    and    upward,    sideways    and    downward, 

turning  hands  on  second  and  fourth  counts.    (Moderate  rhythm.) 

12.  Front  leaning  rest :    (double)    foot  placing  forward  and  backward. 

(On  signal  once,  then  in  moderate  rhythm.) 

13.  Hij)  grasp  standing  jumping  on  toes  with   foot  placing  sideways, 

alternating  with  knee  upward  bending  left  and  right. 

14.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

II!.     Apparatus  work. 
IV.     Run,  etc. 

Lesson  <V. 
I.     Marching. 

II.     1.    Arm   bend    standing  arm    stretching   upward   with   alternate    foot 
placing  forward.     (On  signal  one  round,  then  in  rhythm.) 

2.  Hip  grasp   standing  heel   raising  and  knee   bending.      (Even   and 

uneven  rhythm.) 

3.  Alternate  foot  placing  sideways  with  hands  on  neck,  and  backward 

moving  of  head  with  chest  expansion.  (On  signal  one  round, 
then  in  uneven  rhythm  :  first  and  fourth  quick,  second  and  third 
slow.  On  third  count  there  should  be  no  return  movement.  In- 
stead utmost  effort  should  be  made  to  hold  the  "stretched"  posi- 
tion during  that  count.) 

4.  Arm  bend   stride  standing  forward-downward   bending    (to   hori- 

zontal and  beyond,  if  possible,  with  straight  knees  and  upper 
back),  alternating  with  arm  stretching  obliquely  upward.  (On 
signal  one  round,  then  in  moderate,  even  rhythm.) 

5.  One  hand   on   hip   standing  leg   flinging   sideways,   left   and    right, 

with  opposite  arm  flinging  sideways-upward.      (  Rhythmic.) 

6.  .Alternate    loot    placing    forward    with    hands    on    neck,    and    trunk 

twisting  (to  side  of  moved  foot).  (On  signal  and  in  slow 
rhythm  ;  all  movements  quick.) 

7.  Ann   bending  and   stretching  one   sideways,   the  other  downward. 

(On  signal  one  round,  then  in  even  rhythm.) 

8.  I  lip  grasp  standing  balance  march  with  knee  upward  bending  and 

stretching  forward-downward  (three-count  movement).  (On 
signal  and  in  uneven  rhvthm  :  first  and  second  quick,  third  slow 
while  transferring  weight.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  273 

9.    "Horseshoe  bend."     (First  left  and  right,  then  alternate.) 

10.  Forward  charge  with  hands  on  neck.     (On  signal  and  in  rhythm.) 

11.  Arms  side-horizontal  standing,  (quick)  small  arm  circles.     (Arms 

behind  plane  of  shoulders  throughout.) 

12.  Front  leaning  rest,  then  (double)   foot  placing  forward  and  back- 

ward once,  then  return  to  fundamental  position  (six-count 
movement).  (On  signal  once,  then  in  rhythm.) 

13.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward  : 

cut-step  backward-forward  with  "break"  and  change  on  seventh 
and  eighth  counts. 

14.  High  arm  circling  (two  counts)   with  backward  moving  of  head 

and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  9. 
I.     Marching. 

II.  1.  Low  (quick)  arm  circling,  palms  up,  with  heel  raising.  (Rhyth- 
mic.) 

2.  Alternate  side  lunge  with  hands  on  neck.     (Rhythmic.) 

3.  Arms    side-horizontal     (palms    up)     forward    walk    standing    arm 

raising  with  backward  moving  of  head.  (On  signal  three  times 
each  side.) 

4.  (1)  Arm  bending;  (2)  (double)  foot  placing  sideways  with  down- 

ward bending,  touching  floor;  (3)  trunk  raising  with  arm  bend- 
ing; (4)  jump  to  fundamental  position.  (On  signal  once,  then 
in  fairly  quick  rhythm.) 

5.  Arm   bend   oblique  walk  twist   standing  arm   stretching   upward. 

(Even  rhythm;  eight  to  twelve  times  each  side.) 

6.  Hip  grasp  toe  standing  alternate  knee  upward  bending.      (Rhyth- 

mic.) 

7.  Alternate    foot    placing    sideways    with    hands    on    neck,    and    side 

bending  (to  side  of  moved  foot).  (On  signal  one  round,  then 
in  slow,  uneven  rhythm  :  first  and  fourth  quick,  second  and  third 
slow.) 

8.  High  (quick)  arm  circling  (two  counts)  with  alternate  toe  touch- 

ing sideways.     (Fairly  quick  rhythm,  but  positions  marked.) 

9.  Alternate  oblique  charge  with  hands  on  neck.     Return  by  follow 

step,  zigzag  advance.      (Slow  rhythm;  quick  movements.) 

10.  Arm   bending  and   stretching  one   upward,   the   other   downward. 

(On   signal  once,  then  in  even   rhythm.) 

11.  Arm   flinging   sideways   with  toe-support    (reverse)    charge.      (On 

signal  and  in  slow  rhythm;  quick  movements.) 

12.  Front  leaning  rest  with   feet  apart :  turn  90°   to  side  leaning  rest, 

one  hand  on  hip.  Turn  to  other  side  on  two  counts.  (On  signal 
and  in  slow  rhythm;  try  for  quick  movements.) 

13.  Hip  grasp  standing  jumping  on  toes  with   foot  placing  sideways, 

alternating  with  leg  flinging  sideways  left  and  right. 

14.  Arm  bend  standing  slow  arm  stretching  sideways,  palms  up.  with 

backward  moving  of  head  and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  10. 
I.     Marching. 

II.  1.  Arm  flinging  sideways-upward  with  alternate  foot  placing  for- 
ward. (On  signal  one  round,  then  in  slow  rhythm  ;  quick  move- 
ments.) 


274  GYMNASTIC  TEACHING 

2.  Hip    grasp    standing    knee    bending,    heels    off.       (Fairly    quick 

rhythm.) 

3.  Alternate  foot  placing  forward  with  hands  on  neck,  and  backward 

moving  of  head  with  chest  expansion.  (On  signal  one  round, 
then  in  slow,  uneven  rhythm  :  first  and  fourth  quick,  second  and 
third  slow  ;  no  return  movement  on  third  count ;  hold  "stretched" 
position.) 

4.  Arm  bend  u'idc  stride  standing  downward  bending,  touching  floor 

(straight  knees  and  upper  back),  alternating  with  arm  stretching 
upward.  (On  signal  one  round  ;  or  start  at  once  in  even  rhythm.) 

5.  Arm  flinging  sideways  with  alternate  oblique   foot  placing    (for- 

ward-outward) and  simultaneous  trunk  twisting.  (On  signal 
one  round,  then  in  slow  rhythm;  quick  movements.) 

6.  Alternate  side  charge  with  hands  on  hips.     (On  signal  one  round, 

then  in  slow  rhythm;  quick  movements.) 

7.  Ann   bending   and    stretching   upward,    sideways   and    downward. 

(Even  rhythm  a  few  rounds,  then  uneven,  holding  the  straight 
arm  positions  longer  than  the  bent  position.) 

8.  Forward  bending  of  arms  with  alternate  forward  charge.     Return 

by  follow  step,  advancing  with  each  charge.  (On  signal  one 
round,  then  in  slow  rhythm.) 

9.  Hip     grasp     standing     alternate     leg     flinging     forward-upward. 

(Rhythmic.) 

10.  Arm  bending  and   stretching  one   forward,  the  other  downward. 

(On  signal  one  round,  then  in  even   rhythm.) 

11.  Arms    front-horizontal   standing  position   on   one   foot,   the   other 

raised  forward:  knee  bending  (supporting  leg).  (On  signal 
three  or  four  times  each  side.) 

12.  Front   leaning   rest   with   feet  apart,   turn   90°    with   one   hand   on 

hip,  return  to  fundamental  position  (six  counts).  (On  signal 
once,  then  in  uneven  rhythm,  holding  three  and  six  longer  than 
the  other  counts.) 

13.  Hip   grasp  standing  cut-step  backward.      (See   Series    IX,   lesson 

12.) 

14.  Arm  bend   standing  slow  arm   stretching  upward   with  backward 

moving  of  head  and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  n. 
I.     Marching. 

II.  1.  Ann  bend  stride  standing  arm  stretching  sideways  with  knee 
bending.  (On  signal  once,  then  in  slow  rhythm;  quick  move- 
ments; or  start  at  once  as  rhythmic  movement.) 

2.  Alternate  foot  placing  forward  with  hands  on  hips,  and  heel  rais- 

ing. (On  signal  one  round,  then  in  slow  rhythm;  quick  move- 
ments; weight  equally  on  both  feet.) 

3.  Oblique  walk  twist  standing  high  arm  circling  (two  counts)    with 

backward  moving  of  head  and  chest  expansion.  (Response 
movement  'Iiree  times  on  each  side.) 

4.  (1)   Arm  bending   (2)    (double)   n-idc  foot  placing  sideways  with 

downward  bending,  touching  floor  (straight  knees  and  upper 
back)  ;  (3)  trunk  raising  with  arm  flinging  sideways,  palms  up; 
(4)  jump  to  fundamental  standing  position.  (Rhythmic.) 

5.  Alternate   leg   flinging   sideways   with   opposite  arm    flinging   side- 

ways-upward.     ( Rhythmic.) 


PROGRESSION  OF  GYMNASTIC  LESSONS  275 

6.  Hip  grasp   kneeling   position  on  one  knee :   backward   leaning  of 

trunk.  (On  signal  four  to  five  times  on  each  side;  movement 
is  from  knee;  avoid  bending  in  lower  back.) 

7.  Arm  bending  and   stretching   forward,   sideways  and   downward. 

(Even  and  uneven  rhythm.) 

8.  Arm    flinging    forward-upward    with    toe-support    charge.       (On 

signal  and  in  slow  rhythm;  quick  movements.) 

9.  Forward  bending  of  arms  with  alternate  foot  placing   forward, 

and  arm  flinging  sideways  with  trunk  twisting.  (On  signal  one 
round,  then  in  slow,  even  rhythm;  all  movements  quick.) 

10.  Arm  bend  standing  arm  stretching  upward  with  oblique  charge. 

(On  signal  and  in  slow  rhythm;  movements  quick.) 

11.  Hip  grasp  standing  alternate  side  bending  with  raising  of  oppo- 

site leg.     (On  signal  three  times  on  each  side.) 

12.  Front    leaning    rest,   arm    bending   once,    return    to    fundamental 

standing  position  (six  counts).  (On  signal  once,  then  in  uneven 
rhythm:  third  and  fourth  counts  slow,  the  others  quick.) 

13.  Hip  grasp  standing  jumping  on  toes  with  foot  placing  sideways, 

alternating  with  alternate  leg  flinging  forward. 

14.  Low  arm  circling,  palms  up,  with  backward  moving  of  head  and 

breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 

Lesson  12. 
I.     Marching. 

II.  1.  Forward  bending  and  side  flinging  of  arms  with  alternate  foot 
placing  sideways  and  heel  raising.  (On  signal  one  round,  then 
in  moderate  rhythm;  movements  quick;  positions  held.) 

2.  Arm   flinging   sideways   and  upward   with   heel   raising  and   knee 

bending.      (Even  and  uneven  rhythm.) 

3.  Alternate    oblique    foot   placing    (forward-outward)    with    hands 

on  neck  and  simultaneous  trunk  twisting  (to  side  of  moved 
foot),  then  backward  moving  of  head  with  chest  expansion.  (On 
signal  one  round,  then  in  slow,  uneven  rhythm  :  first  and  fourth 
quick,  second  and  third  slow ;  no  movement  on  third  ;  hold  posi- 
tion.) 

4.  Arms  overhead  wide  stride  standing  forward-downward  bending 

(at  least  to  horizontal),  alternating  with  arm  parting.  (On  sig- 
nal once,  then  in  moderate,  even  rhythm.) 

5.  Alternate   side   lunge   with   hands   on   neck,   and   side   bending    (to 

same  side).  (On  signal  one  round,  then  in  slow,  uneven 
rhythm:  first  and  fourth  quick,  second  and  third  slow.) 

6.  Arm  bending  and  stretching  sideways  with  alternate  knee  upward 

bending  and  stretching  forward.  (On  signal  one  round,  then 
in  slow,  even  rhythm ;  all  movements  quick ;  stop  unexpectedly 
on  third  count.) 

7.  Arm   bending   with    alternate    oblique    charge,    and    trunk    twisting 

to  same  side.  (On  signal  one  round,  then  in  slow  rhythm; 
quick  movements.) 

8.  Arm   bending   and   stretching   one    forward,    the   other   sideways. 

(Even  and  uneven  rhythm.) 

9.  Hip  grasp  standing    (quick)    alternate  leg  circling    (forward-side- 

ways-downward ) .     (  Rhythmic. ) 

10.  "Lifting  heavy  weight  with  one  hand."  (  (1)  With  feet  slightly 
apart,  stoop  down  and  touch  floor  with  one  hand  ;  (2)  straighten 
up  and  bend  arm,  hand  moving  close  to  the  body  and  stopping 


276  GYMNASTIC  TEACHING 

at  shoulder;  (3)  push  hand  up  overhead;  (4)  bend  arm.  Repe- 
titions start  from  fourth  position.  Free  hand  on  knee  on  first 
count,  after  that  on  hip.  Slow,  uneven  rhythm :  first  and  fourth 
slow,  second  and  third  quick.) 

11.  Hip  grasp  standing  position  on  one  foot,  the  other  raised  side- 

ways: cut-step  sideways  and  hop  (with  or  without  leaning  side- 
ways on  hop). 

12.  Front  leaning  rest,    (double)    foot  placing  forward  and  backward 

once,  then  arm  bending  and  stretching  once,  then  return  to 
fundamental  standing  position  (eight  counts).  (On  signal  once, 
then  in  moderate,  uneven  rhythm  ;  the  arm  bending  and  stretch- 
ing slow,  all  the  other  movements  quick.) 

13.  Alternate   leap  and   hop   with   arm    flinging   forward-upward   on 

same  side,  forward-downward  on  opposite  side  (four  counts), 
then  "Hungarian  break"  (four  counts). 

14.  Turning  of  hands  with  backward  moving  of  head  and  breathing. 

III.  Apparatus  work. 

IV.  Run,  etc. 


V.     APPENDIX. 


The  following  lists  of  free-standing  and  apparatus  exercises 
are  arranged  in  approximately  progressive  order.  They  include 
the  more  common  and  representative  types  and  combinations,  but 
are  not  in  any  sense  exhaustive.  Mimetic  exercises  and  other 
non-definite  movements  have  been  omitted. 


1.     FREE-STANDING  EXERCISES. 

Leg-and-Arm  Exercises. 

Foot  Platings;  Heel  Raising;  Toe  Raising;  Closing  of  Feet. 

Hip  grasp  stride  standing  heel  raising. 

Hip  grasp  standing  alternate  toe  raising. 

Hip  grasp  standing  heel  raising. 

Hip  grasp  standing  close  and  open  feet. 

Hip  grasp  stride  standing  alternate  heel  raising   (two  or  one  count  each 

side). 

Arm  flinging  sideways  with  heel  raising. 
Alternate  foot  placing  sideways  with  hands  on  hips. 
Arm  bending  with  heel  raising. 

Alternate  foot  placing  sideways  with  hands  on  neck. 
Arm  flinging  sideways,  palms  up,  with  heel  raising. 
Arm  bending  with  alternate  foot  placing  forward. 
Hip  grasp  close  standing  heel  raising. 

Forward  bending  of  arms  with  alternate  foot  placing  sideways. 
Neck  grasp  standing  alternate  toe  raising. 
Low  arm  circling,  palms  up,  with  heel  raising. 

Neck  grasp  stride  standing  alternate  heel  raising   (one  count  each  side). 
Arm  bending  with  alternate  foot  placing  outward. 
Arm  flinging  forward  with  heel  raising. 
Hip  grasp  standing  alternate  heel-and-toe  raising. 
Low  arm  circling,  palms  up,  with  alternate  foot  placing  sideways. 
Forward  bending  of  arms  with  heel  raising. 
Arm  flinging  sideways  with  alternate   foot  placing   forward. 
Arm  bend  standing  arm  stretching  downward  with  heel  raising. 
Arm  flinging  forward  with  alternate  foot  placing  sideways. 
Arm  bend  standing  arm  stretching  sideways  with  heel  raising. 
Alternate  foot  placing  forward  with  hands  on  neck. 
Arms  front-horizontal  standing  arm  flinging  sideways  with  heel  raising. 
Forward  walk  standing  arm  flinging  sideways  with  heel  raising. 
High  arm  circling  with  alternate  foot  placing  sideways. 
Arm  forward  bend  standing  arm  flinging  sideways  with  heel  raising. 
Arm  bend  standing  arm  stretching  upward  with  heel  raising. 
Neck  grasp  standing  alternate  heel-and-toe  raising. 
Arm  bend   standing  arm   stretching   sideways   with  alternate   foot   placing 

forward. 

Alternate  foot  placing  sideways  with  hands  on  hips,  and  heel   raising. 
Arm  bend  forward  walk  standing  arm  stretching  sideways  with  heel  raising. 


278  GYMNASTIC  TEACHING 

Arm  Hinging  sideways  upward  with  alternate  foot  placing  forward. 

Alternate  foot  placing  sideways  with  hands  on  neck,  and  heel  raising. 

Arm  Hinging  sideways-upward  with  heel  raising. 

Alternate  foot  placing  forward  with  hands  on  hips,  and  heel  raising. 

High  arm  circling  with  heel  raising. 

Alternate  foot  placing  forward  with  hands  on  neck,  and  heel  raising. 

Arm  bending  and  stretching  sideways  with  alternate  foot  placing  sideways 

and  heel  raising. 
Arms  side-horizontal   (palms  up)    standing  arms  flinging  upward  with  heel 

raising. 
Arm  bending  and  stretching  upward  with  alternate  foot  placing  sideways 

and  heel  raising. 

Closing  of  feet  with  hands  on  neck,  and  heel  raising. 
Forward  bending  of  arms  and  arm  flinging  sideways  with  alternate   foot 

placing  sideways  and  heel  raising. 

Arms  front-horizontal  standing  arm  Hinging  upward  with  heel  raising. 
Arm  bending  and  stretching  sideways  with  alternate  foot  placing  forward 

and  heel  raising. 
Half  bent  arms  side-horizontal  standing  arm  stretching  sideways  with  heel 

raising. 
Arm  Hinging  forward  and  sideways  with  alternate   foot  placing  sideways 

and  heel  raising. 
Arm  forward  bend  forward  walk  standing  arm  flinging  sideways  with  heel 

raising. 
Arm  bending  and  stretching  forward  with  alternate  foot  placing  sideways 

and  heel  raising. 
Half   bent  arms   side-horizontal   standing   arm   stretching   upward   with   heel 

raising. 
Arm   Hinging  sideways  and   upward   with  alternate   foot  placing  sideways 

and  heel  raising. 
Forward   bending  and   side   flinging   of   arms   with    alternate    foot   placing 

forward  and  heel  raising. 
Half  sideways  bending  of  arms  and  arm  stretching  sideways  with  alternate 

foot  placing  sideways  and  heel  raising. 

Arm  bending  and  stretching  sideways  with  closing  of  feet  and  heel  raising. 
Arm  flinging  forward  and  upward,  sideways  and  downward  (four  counts) 

with  alternate  foot  placing  sideways  and  heel   raising. 
Half  sideways  bending  of  arms  and  arm  stretching  upward  with  alternate 

foot  placing  sideways  and  heel   raising. 
Arm   flinging  forward  and  sideways  with  alternate   foot  placing   forward 

and  heel  raising. 
Arm   bend   standing  arm    stretching   forward    and    arm    flinging   sideways 

with  alternate   foot  placing  sideways  and  heel   raising. 
Arm  bending  and  stretching  upward  with  alternate   foot  placing   forward 

and  heel  raising. 
Forward  bending  and  side  flinging  of  arms,  with  closing  of   feet  and  heel 

raising. 
Half  sideways  bending  of  arms  and  arm  stretching  sideways  with  alternate 

foot  placing  forward  and  heel  raising. 
Arm  bend  standing  arm  stretching  upward  and  arm  parting  with  alternate 

foot  placing  sideways  and  heel  raising. 
Arm    flinging   sideways   and    upward    with   alternate    foot    placing    forward 

and  heel  raisin". 

Arm  bending  and  stretching  upward  with  closing  of  feet  and  heel  raising. 
Arm  flinging  sideways  and  upward  with  d<»ing  of  feet  and  heel  raising. 
Half  sideways  bending  of  arms  and  arm  stretching  upward  with  alternate 

fnot  placing  forward  and  heel  raising. 


APPENDIX  279 

Arm  flinging  sideways  and  arm  rotation  with  alternate  foot  placing  for- 
ward and  heel  raising. 

Arm  flinging  forward  with  alternate  foot  placing  sideways  (and  return), 
alternating  with  arm  flinging  sideways  with  heel  raising. 

Arm  bending  with  alternate  foot  placing  forward  (sideways,  or  outward), 
alternating  with  arm  flinging  sideways  (or  forward)  with  heel  raising. 

Arm  flinging  sideways  with  alternate  foot  placing  forward,  alternating  with 
arm  flinging  forward  (or  arm  bending)  with  heel  raising. 

Forward  bending  of  arms  with  alternate  foot  placing  sideways  (or  for- 
ward), alternating  with  arm  flinging  forward  (or  sideways)  with  heel 
raising. 

Arm  bend  standing  arm  stretching  sideways  (upward,  or  forward)  with 
alternate  foot  placing  forward  (outward  or  sideways),  alternating 
with  arm  stretcliing  upward  (sideways  or  forward)  with  heel  raising. 


Leg-and-Arm  Exercises  (Continued}. 

Knee  Bending  and  Alternate  Knee  Bending;   Toe   Touching  with  Opposite 

Knee  Bending;  Foot  Placings;  Side  Lunge;  Arm  Movements  and 

Combinations. 

Arm  Hinging  forward  with  knee  bending,  heels  off.     (Quick,  two-count 

movement.) 

Hip  grasp  stride  standing  knee  bending  (quick). 

Stride  standing  arm  raising  sideways  with  knee  bending  (slow  or  quick). 
Hip  grasp  standing  toe  touching  sideways  with  opposite  knee  bending,  left 

and  right  and  alternate. 
Neck  grasp  stride  standing  knee  bending. 
Stride  standing  arm  bending  with  (quick)  knee  bending. 
Hip  grasp  standing  knee  bending,  heels  off. 
Hip  grasp  wide  stride  standing  alternate  knee  bending  (two  counts  each 

side). 

Arm  flinging  sideways  with   (quick)   knee  bending,  heels  off. 
Alternate  toe  touching  sideways  with  opposite  knee  bending  and  placing 

hands  on  hips. 
Hip  grasp  wide  stride  standing  alternate  knee  bending  from  one  side  to 

the  other  in  one  movement. 
Arm   bend    stride    standing   arm    stretching   sideways    with    (quick)    knee 

bending. 
Hip  grasp  standing  heel  raising  and  knee  bending   (four-count  movement, 

even  rhythm). 
Arm   forward  bend   stride   standing  arm   flinging   sideways   with    (quick) 

knee  bending. 

Alternate  foot  placing  sideways  with  hands  on  hips,  and  knee  bending. 
Arms  front-horizontal  stride  standing  arm  parting  with  knee  bending  (slow 

or  quick). 
Alternate  toe  touching  sideways  with  opposite  knee  bending  and  placing 

hands  on  neck. 
Arm    bend    stride    standing   arm    stretching    forward    with    (quick)    knee 

bending. 
Neck  grasp  wide  stride  standing  alternate  knee  bending    (from  one  side 

to  the  other  in  one  movement). 
Arms    side-horizontal    (palms   up)    stride    standing   arm    raising   with    knee 

bending  (slow  or  quick). 
Alternate  side  lunge  with  hands  on  hips. 
Hip  i,'rasp  standing  heel  raising  and  knee  bending   (four-count  movement, 

uneven  rhythm). 


280  GYMNASTIC  TEACHING 

Alternate  foot  placing  sideways  with  hands  on  neck,  and  knee  bending. 

Toe  standing  arm  raising  sideways  with  knee  bending. 

Arm  bending  with  alternate  side  lunge. 

Close  standing  arm  Hinging  forward  with  knee  bending  heels  off  (knees 
together). 

Alternate  side  lunge  with  hands  on  neck. 

Arm  bend  stride  standing  arm  stretching  upward  with  (quick)  knee  bend- 
ing. 

Neck  grasp  standing  heel  raising  and  knee  bending  (four-count  movement). 

Arm  Hinging  sideways-upward  with  knee  binding,  heels  off. 

Arm  bending  and  stretching  sideways  with  alternate  foot  placing  sideways 
and  knee  bending. 

Stride  standing  high  arm  circling  (two  counts)  with  (quick)  knee  bending. 

Alternate  toe  touching  forward  with  opposite  knee  bending  and  placing 
hands  on  hips  (or  neck). 

Arm  flinging  forward  (or  sideways)  with  three-fourths  or  full  knee  bend- 
ing, heels  off. 

Arms  overhead  stride  standing  arm  parting  with  knee  bending.  (Slow  or 
moderate  speed.) 

Hip  grasp  standing  heel  raising  and  three-fourths  or  full  knee  bending 
(four-count  movement,  uneven  rhythm). 

Arm  flinging  sideways  with  alternate  side  lunge. 

Toe  standing  arm  flinging  sideways-upward  with  knee  bending. 

Forward  bending  and  side  flinging  of  arms  with  alternate  foot  placing  side- 
ways and  knee  bending. 

Arm  bend  toe  standing  arm  stretching  sideways  with  (quick)  knee  bending. 

Arm  flinging  forward  and  sideways  with  alternate  foot  placing  sideways 
and  knee  bending. 

Alternate  side  lunge  with  hands  on  hips,  and  alternate  knee  bending  (four- 
count  movement). 

Arm  bending  and  stretching  upward  with  alternate  foot  placing  sideways 
and  knee  bending. 

Arm  flinging  sideways  and  upward  with  heel  raising  and  knee  bending. 

Hip  grasp  standing  deep  knee  bending,  heels  off  (two-count  movement). 

Arm  flinging  sideways  and  upward  with  alternate  foot  placing  sideways 
and  knee  bending. 

Neck  grasp  standing  heel  raising  and  deep  knee  bending  (four-count  move- 
ment, uneven  rhythm). 

Arm  bending  and  stretching  sideways  with  heel  raising  and  knee  bending. 

Hip  grasp  oblique  walk  standing  heel  raising  and  knee  bending  (four-count 
movement). 

Alternate  side  lunge  with  hands  on  neck,  and  alternate  knee  bending. 

Arm  flinging  forward  and  upward,  sideways  and  downward  (four  counts) 
with  alternate  foot  placing  sideways  and  (quick)  knee  bending. 

Arm  forward  bend  toe  standing  arm  flinging  sideways  with  (quick)  knee 
bending. 

Alternate  foot  placing  outward  with  hands  on  hips,  heel  raising  and  knee 
bending  (six-count  movement). 

Half  sideways  bending  of  arms  and  arm  stretching  sideways  (or  upward) 
with  alternate  foot  placing  sideways  and  knee  bending. 

Arms  front-horizontal  toe  standing  arm  flinging  sideways  with  knee  bend- 
ing. 

Close  standing  arm  flinging  sideways  with  knee  bending,  heels  off  (knees 
together). 

Arm  bend   toe  standing  arm   stretching  upward   with   knee  bending. 

Arms  overhead  standing  arm   parting  with  knee  bonding,  heels  off. 

Hip  grasp  forward  walk  standing  heel   raising  and  knee  bending. 


APPENDIX  281 

Arms  side-horizontal  (palms  up)  toe  standing  arm  raising  (slow  or  quick) 
with  knee  bending. 

Forward  bending  and  side  flinging  of  arms  with  heel  raising  and  knee 
bending. 

Arm  flinging  sideways,  palms  up,  with  alternate  side  lunge,  and  arm 
raising. 

Arm  bend  standing  arm  stretching  forward  and  arm  parting  with  alternate 
foot  placing  sideways  and  knee  bending. 

Arm  flinging  sideways-upward  with  deep  knee  bending,  heels  off  (two- 
count  movement). 

Alternate  foot  placing  outward  with  hands  on  neck,  heel  raising  and  knee 
bending  (six  counts). 

Arm  flinging  forward  and  sideways  with  heel  raising  and  knee  bending. 

Arm  bend  standing  arm  stretching  sideways,  palms  up,  with  alternate  foot 
placing  sideways,  then  arm  raising  with  knee  bending. 

Arm  bending  and  stretching  sideways  with  closing  of  feet  and  knee  bend- 
ing (heels  off,  knees  together). 

Arm  flinging  forward  with  alternate  side  lunge,  then  arm  parting  with 
alternate  knee  bending. 

Arm  bend  standing  arm  stretching  upward  with  alternate  foot  placing 
sideways,  then  arm  parting  with  knee  bending. 

Arm  bend  standing  arm  stretching  sideways,  palms  up,  with  heel  raising, 
then  arm  raising  with  knee  bending. 

Alternate  side  lunge  with  arm  flinging  upward  on  same  side,  sideways, 
palm  up,  on  opposite  side,  then  alternate  knee  bending  with  change  of 
arms. 

Arm  bending  and  stretching  upward  with  heel  raising  and  knee  bending. 

Alternate  foot  placing  forward  with  hands  on  hips,  heel  raising  and  knee 
bending  (six  counts). 

Arm  flinging  forward  and  upward,  sideways  and  downward  (four  counts) 
with  heel  raising  and  knee  bending. 

Arm  bending  and  stretching  forward  with  alternate  foot  placing  sideways 
and  heel  raising,  then  arm  parting  (quick  or  slow)  with  knee  bending 
(six-count  movement). 

Arm  bend  standing  arm  stretching  upward  and  arm  parting  with  heel  rais- 
ing and  knee  bending. 

Arm  flinging  forward-upward  (or  placing  arms  overhead)  with  alternate 
side  lunge,  then  arm  parting  with  alternate  knee  bending. 

Arm  bending  and  stretching  upward  with  closing  of  feet  and  knee  bend- 
ing (heels  off). 

Arm  bending  and  stretching  upward  with  alternate  foot  placing  sideways 
and  heel  raising,  then  arm  parting  with  knee  bending  (six-count 
movement). 

Arm  flinging  forward-upward  and  arm  parting  with  heel  raising  and  knee 
bending. 

Arm  bending  and  stretching  sideways,  palms  up,  with  alternate  foot  plac- 
ing forward  and  heel  raising,  then  arm  raising  with  knee  bending 
(six-count  movement). 

U ppcr  Back  Stretching  E.rci'dscs. 


Arm  raising  sideways  with  backward  moving  of  head.     (Slow,  on  signal.) 
Hip    grasp    standing    backward    moving    of    head    with    chest    expansion. 
(Slow,  on  signal.) 


282  GYMNASTIC  TEACHING 

Arm  flinging  sideways,  palms  up,  with  backward  moving  of  head.  (Rhyth- 
mic.) 

Head  grasp  standing  "stretching."     (Imitation  and  on  signal.) 

Arm  bend  standing  backward  moving  of  head  with  chest  expansion. 
(Slow,  on  signal.) 

Low  (quick)  arm  circling,  palms  up  (two  counts),  with  backward  moving 
of  head.  (Rhythmic.) 

Neck  grasp  standing  "stretching."     (Imitation  and  on  signal.) 

Arm  bending  and  stretching  sideways  and  slow  sinking  (three  counts) 
with  backward  moving  of  head  (on  second  count).  (On  signal  once, 
then  in  uneven  rhythm.) 

Low  arm  circling,  palms  up  (two  counts,  slow),  with  backward  moving  of 
head  and  chest  expansion.  (On  signal.) 

Forward  bending  and  side-flinging  of  arms  and  slow  sinking  (three 
counts)  with  backward  moving  of  head.  (On  signal  once,  then  in  un- 
even rhythm.) 

Neck  grasp  standing  backward  moving  of  head  with  chest  expansion. 
(Slow,  on  signal.) 

Arm  bend  standing  slow  arm  stretching  sideways,  palms  up,  with  back- 
ward moving  of  head  and  chest  expansion.  (On  signal.) 

High  (quick)  arm  circling  (two  counts)  with  backward  moving  of  head. 
(Rhythmic.) 

Placing  hands  on  neck,  backward  moving  of  head  with  chest  expansion, 
return  to  fundamental  position  (three  counts).  (On  signal  once, 
then  in  uneven  rhythm.) 

Arms  side-horizontal  standing  turning  of  hands  (arm  rotation)  with  back- 
ward moving  of  head  and  chest  expansion.  (Slow,  on  signal.) 

High  arm  circling  (three  counts)  with  backward  moving  of  head  (on  first 
count).  (On  signal  once,  then  in  uneven  rhythm:  first  and  second 
quick,  third  slow.) 

Arm  bend  standing  slow  arm  stretching  upward  with  backward  moving 
of  head  and  chest  expansion.  (On  signal.) 

Arm  flinging  sideways  and  upward,  sideways  and  downward  (four  counts) 
with  backward  moving  of  head  (on  second  count.  Hands  turn  on 
second  and  fourth.  Rhythmic.) 

Arms  side-horizontal  (palms  up)  standing  arm  raising  with  backward  mov- 
ing of  head  and  chest  expansion.  (Slow,  on  signal.) 

Arm  bending  and  stretching  upward  and  slow  sinking  sideways  and  down- 
ward (four  counts)  with  backward  moving  of  head  (on  second  count). 
(On  signal  once,  then  in  uneven  rhythm:  first  and  second  quick,  third 
and  fourth  slow.) 

Arms  front-horizontal  standing  arm  parting,  palms  up,  with  backward 
moving  of  head  and  chest  expansion.  (Slow,  on  signal.) 

Arms  overhead  standing  "stretching."  (On  signal.)  Or:  Placing  arms  over- 
head, backward  moving  of  head  with  chest  expansion,  return  to  funda- 
mental position.  (Three  counts.  On  signal  once,  then  in  uneven 
rhythm:  first  and  third  quick,  second  slow.) 

Arm  flinging  forward,  sideways,  palms  up,  with  backward  moving  of  head, 
and  slow  sinking.  (On  signal  once,  then  in  uneven  rhythm  :  first  and 
second  quick,  third  slow.) 

Arms  overhead  standing  arm  parting  (to  side-horizontal,  palms  up)  with 
backward  moving  of  head  and  chest  expansion.  (Slow,  on  signal.) 

Neck  grasp  forward  walk  standing  backward  moving  of  head  with  chest 
expansion.  (Slow,  on  signal.) 

Arm  bending  with  alternate  foot  placing  sideways,  and  backward  moving 
of  head  with  chest  expansion.  (On  signal  and  in  uneven  rhythm:  first 
and  fourth  quick,  second  and  third  slow.) 


APPENDIX  283 

Stride  twist  standing  arm  raising  sideways  with  backward  moving  of  head 
and  chest  expansion.  (Slow,  on  signal.) 

Neck  grasp  stride  standing  backward  moving  of  head  with  chest  expan- 
sion, alternating  with  arm  stretching  sideways.  (On  signal  and  in  un- 
even rhythm.) 

Twist  standing  high  arm  circling  (two  counts)  with  backward  bending  of 
head  and  chest  expansion.  (On  signal.) 

Alternate  foot  placing  sideways  with  hands  on  neck,  and  backward  moving 
of  head  with  chest  expansion.  (On  signal  and  in  uneven  rhythm.) 

Arm  bending  with  alternate  foot  placing  sideways,  and  slow  arm  stretching 
sideways,  palms  up,  with  backward  moving  of  head  and  chest  expan- 
sion. (On  signal  and  in  uneven  rhythm.) 

Arms  overhead  stride  standing  backward  moving  of  head  with  chest  expan- 
sion. ( On"  signal.) 

Arm  bending  with  alternate  foot  placing  forward,  and  backward  moving 
of  head  with  chest  expansion.  (On  signal  and  in  uneven  rhythm.) 

Neck  grasp  stride  standing  backward  moving  of  head,  alternating  .with 
arm  stretching  upward.  (On  signal  and  in  uneven  rhythm.) 

Alternate  foot  placing  forward  with  hands  on  neck,  and  backward  moving 
of  head  with  chest  expansion. 

Arm  bend  oblique  walk  twist  standing  backward  moving  of  head  with 
chest  expansion. 

Forward  bending  of  arms  with  alternate  foot  placing  forward,  and  back- 
ward moving  of  head  with  chest  expansion. 

High  arm  circling  (two  counts)  with  alternate  trunk  twisting  and  back- 
ward moving  of  head. 

Arm  bending  and  slow  stretching  upward  with  alternate  foot  placing  side- 
ways and  backward  moving  of  head  with  chest  expansion. 

Neck  grasp  oblique  walk  twist  standing  backward  moving  of  head  with 
chest  expansion. 

Half  sideways  bending  of  arms  with  alternate  foot  placing  sideways,  and 
backward  moving  of  head,  etc. 

Arm  bending  with  alternate  foot  placing  forward,  then  slow  arm  stretching 
sideways,  palms  up,  with  backward  moving  of  head. 

Arms  overhead  stride  standing  backward  moving  of  head,  etc.,  alternating 
with  arm  bending  and  stretching  upward. 

Half  sideways  bending  of  arms  with  alternate  foot  placing  forward  and 
backward  moving  of  head  with  chest  expansion. 

Arm  bending  with  alternate  foot  placing  outward,  trunk  twisting,  and 
backward  moving  of  head,  etc.  (six  counts). 

Arms  overhead  stride  standing  backward  moving  of  head,  etc.,  alternating 
with  arm  parting  with  knee  bending. 

Alternate  foot  placing  outward  with  hands  on  neck,  trunk  twisting,  and 
backward  moving  of  head,  etc.  (six  counts). 

Arm  bending  with  alternate  foot  placing  forward,  arm  stretching  upward 
with  backward  moving  of  head. 

Arm  bending  with  alternate  foot  placing  outward  and  simultaneous  trunk 
twisting,  then  backward  moving  of  head,  etc.  (four-count  movement). 

Half  sideways  bending  of  arms  with  alternate  foot  placing  sideways,  then 
arm  stretching  upward  witli  backward  moving  of  head,  etc. 

Alternate  foot  placing  outward  with  hands  on  neck  and  simultaneous  trunk 
twisting,  then  backward  moving  of  head,  etc. 

Arm  flinging  sideways,  palms  up,  with  alternate  foot  placing  forward,  arm 
raising  with  backward  moving  of  head,  etc. 

Half  sideways  bending  of  arms  with  alternate  foot  placing  outward  and 
simultaneous  trunk  twisting,  then  backward  moving  of  head,  etc. 


284  GYMNASTIC  TEACHING 

Half  sideways  bending  of  arms  with  alternate  foot  placing  forward,  and 
(slow)  arm  stretching  upward  with  backward  moving  of  head,  etc. 

Arm  bending  (or  half  sideways  bending  of  arms)  with  alternate  foot  plac- 
ing outward  and  simultaneous  trunk  twisting,  then  slow  arm  stretching 
upward  with  backward  moving  of  head,  etc. 

Lower  Back  Stretching  Exercises. 

Forward-downward  Bending  of  Trunk ;  Don'invard  Bcndinys,  touching 

floor;  Stooping;   Combinations  and  Alternations  with 

Ann  Movements  and  Foot  Placinys. 

Hip  grasp  z^ide  stride  standing  downward  bending,  touching  floor  alter- 
nately with  left  and  right  hand  (turning  head  and  shoulders  to  other 
side.  Knees  straight).  (Rhythmic.) 

Hip  grasp  standing  stooping  (full  knee  bending,  touching  floor  between 
feet,  trunk  inclined  forward,  back  straight,  head  erect).  (On  signal 
once,  then  in  rhythm.) 

Hip  grasp  stride  standing  forward-downward  bending  (as  far  as  possible 
with  straight  upper  back,  head  up,  chin  in).  (Fairly  quick,  sweeping 
movement.  On  signal  only.) 

Hip  grasp  standing  stooping  (and  return),  alternating  with  arm  stretching 
downward.  (On  signal  once,  then  in  even,  fairly  quick  rhythm.) 

Arm  bend  stride  standing  forward-downward  bending.     (On  signal.) 

ll'idc  stride  standing  downward  bending,  touching  floor  (straight  knees 
and  upper  back),  returning  with  a  sweeping  arm  movement  sideways 
and  striking  thighs.  (In  moderate  rhythm  at  once.) 

Arm  bend  standing  stooping,  alternating  with  arm  stretching  downward. 
(On  signal  and  rhythmic.) 

Neck  grasp  stride  standing  forward-downward  bending.     (On  signal.) 

Hip  grasp  tvidc  stride  standing  downward  bending,  touching  floor,  alter- 
nating with  arm  stretching  downward.  (.On  signal  once,  then  in  fairly 
quick,  even  rhythm.) 

Arm  bend  standing  stooping,  alternating  with  arm  stretching  sideways. 
(On  signal  and  rhythmic.) 

Hip  grasp  stride  standing  forward-downward  bending,  alternating  with 
arm  stretching  downward.  (On  signal  once,  then  in  moderate,  even 
rhythm.) 

Arm  bend  wide  stride  standing  downward  bending,  touching  floor,  alter- 
nating with  arm  stretching  sideways. 

Hip  grasp  standing  stooping,  touching  floor  alternately  with  left  and  right 
hand.  (Rhythmic.) 

Neck  grasp  standing  forward-downward  bending.      (On  signal.) 

Arm  forward  bend  standing  stooping,  alternating  with  arm  flinging  side- 
ways. (On  signal  and  rhythmic.) 

Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward-down- 
ward bending.  (On  signal  one  round,  then  in  moderate,  even  rhythm.) 

Neck  grasp  standing  stooping,  alternating  with  placing  hands  on  hips;  or 
hip  grasp  standing  stooping,  alternating  with  placing  hands  on  neck. 

Arm  forward  bend  wide  standing  downward  bending,  touching  floor,  alter- 
nating with  arm  flinging  sideways.  (On  signal  and  rhythmic.) 

Arm  bend  standing  forward-downward  bending,  alternating  with  arm 
stretching  downward.  (On  signal  once,  then  in  e-ven  rhythm.) 

Arm  bending  with  alternate  wide  foot  placing  sideways,  and  downward 
bending,  touching  floor.  (Return  in  reverse  order.  Moderate,  even 
rhythm. ) 

Arm  bend  standing  stooping,  alternating  with  arm  stretching  sideways, 
palms  up. 


APPENDIX  285 

Arm  bending  with  alternate  foot  placing  sideways,  and  forward-downward 
bending.  (On  signal  and  rhythmic.) 

Hip  grasp  wide  stride  standing  downward  bending,  touching  floor,  alter- 
nating with  placing  hands  on  neck.  (Rhythmic.) 

Hip  grasp  standing  stooping,  touching  floor  alternately  with  left  and  right 
hand,  the  other  arm  raised  sideways  (as  nearly  vertical  as  possible). 
Head  and  shoulders  turned  to  side  of  high  arm.  (On  signal  one  round, 
then  in  rhythm.) 

Hip  grasp  forward  walk  standing  forward  bending  of  trunk.     (On  signal.) 

Arm  bend  stride  standing  forward-downward  bending,  alternating  with 
arm  stretching  sideways. 

Alternate  foot  placing  sideways  with  hands  on  neck,  and  forward-down- 
ward bending. 

Arm  bend  standing  stooping,  alternating  with  arm  stretching  obliquely 
upward. 

Neck  grasp  forward  walk  standing  forward  bending  of  trunk.     (On  signal.) 

Hip  grasp  close  standing  forward-downward  bending.      (On  signal.) 

Forward  bending  of  arms  with  alternate  foot  placing  sideways  (wide  step), 
and  (quick)  downward  bending,  touching  floor.  Return  in  reverse 
order. 

Neck  grasp  stride  standing  forward-downward  bending,  alternating  with 

arm  stretching  downward. 

.  (1)  Arm  bending  (or  forward  bending  of  arms)  ;  (2)  (double)  foot  plac- 
ing sideways  (ividc  jump)  with  (quick)  downward  bending,  touching 
floor;  (3)  trunk  raising  with  arm  bending  (or  forward  bending  of 
arms)  ;  (4)  jump  to  fundamental  standing  position.  (On  signal  once 
or  twice,  then  in  slow  rhythm,  gradually  accelerating.) 

Arm  bend  standing  stooping,  alternating  with  arm  stretching  upward. 

Neck  grasp  close  standing  forward-downward  bending.     (On  signal.) 

Arm  bend  wide  stride  standing  downward  bending,  touching  floor,  alter- 
nating with  arm  stretching  upward. 

Arm  flinging  sideways  with  alternate  foot  placing  sideways  (wide  step), 
and  (quick)  downward  bending,  touching  floor.  Return  in  reverse 
order. 

Neck  grasp  stride  standing  forward-downward  bending,  alternating  with 
arm  stretching  upward. 

Arms  overhead  wide  stride  standing  forward-downward  bending.  (On 
signal  only.) 

(1)  Arm  flinging  sideways;  (2)  foot  placing  sideways  with  (quick)  down- 
ward bending,  touching  floor;  (3)  trunk  raising  with  arm  flinging 
sideways;  (4)  jump  to  fundamental  standing  position. 

Arm  bend  stride  standing  forward-downward  bending,  alternating  with 
arm  stretching  sideways  with  quick  knee  bending  (or  heel  raising). 

Alternate  li'ide  foot  placing  sideways  with  hands  on  neck,  and  quick  down- 
ward bending,  touching  floor.  (Return  in  reverse  order.) 

Arms  overhead  wide  stride  standing  forward-downward  bending,  alter- 
nating with  arm  bending  and  stretching  upward. 

(1)  Placing  hands  on  neck;  (2)  foot  placing  sideways  with  downward 
bending,  touching  floor;  (3)  trunk  raising  with  hands  on  neck;  (4) 
jump  to  fundamental  position. 

Ann  bend  standing  arm  stretching  sideways  with  alternate  wide  foot  plac- 
ing sideways,  then  downward  bending,  touching  floor.  (Return  in 
reverse  order.) 

Arms  overhead  wide  stride  standing  forward-downward  bending,  alternat- 
ing with  arm  parting. 

Arm  bend  wide  stride  standing  downward  bending,  touching  floor,  alter- 
nating with  arm  stretching-  upward. 


286  GYMNASTIC  TEACHING 

(1)  Arm  bending  (or  forward  bending  of  arms  or  placing  hands  on  hips 
or  neck)  ;  (2)  foot  placing  sideways  with  downward  bending,  touch- 
ing floor;  (3)  trunk  raising  with  arm  flinging  sideways;  (4)  jump  to 
fundamental  standing  position. 

Arm  bend  standing  arm  stretching  upward  with  alternate  foot  placing 
sideways  (wide  step),  and  forward-downward  bending. 

Arms  side-horizontal  standing  arm  bending  with  alternate  foot  placing 
sideways  (wide  step),  then  downward  bending,  touching  floor.  (Re- 
turn in  reverse  order.) 

(1)  Arm  bending;  (2)  foot  placing  sideways  with  downward  bending, 
touching  floor;  (3)  trunk  raising  with  arm  bending;  (4)  jump  to 
position  with  arm  stretching  sideways  (or  upward).  (Repetitions 
start  from  fourth  position.) 

Arm  flinging  forward-upward  (or  placing  hands  overhead)  with  alternate 
foot  placing  sideways,  then  forward-downward  bending  (or  downward 
bending,  touching  floor). 

Arms  side-horizontal  (palms  up)  li'idc  stride  standing  downward  bending, 
touching  floor,  alternating  with  arm  raising  with  knee  bending. 

(1)  Arm  bending  (or  forward  bending  of  arms,  or  arm  flinging  sideways, 
or  placing  hands  on  neck  or  overhead)  ;  (2)  foot  placing  sideways 
with  downward  bending,  touching  floor;  (3)  trunk  raising  with  arm 
raising  forward-upward;  (4)  jump  to  fundamental  standing  position 
with  arm  flinging  sideways-downward. 

Arms  overhead  stride  standing  forward-downward  bending  of  trunk, 
alternating  with  arm  parting  with  knee  bending. 

[Neck  grasp  stride  standing  forward-downward  bending,  alternating  with 
trunk  twisting.] 

Lateral  Trunk  Exercises. 
(1)    Trunk  Tii'istings. 

Arm  bend  stride  standing    (quick)    trunk  twisting  all   the   way   from   one 

side  to  the  other.     (Try  to  keep  hips  immovable  by  keeping  knees  rigid 

and  weight  on  outside  edges  of   feet,  especially  on  the  opposite  side. 

Head  and  arms  should   be  kept   steady.     On   signal  once  or  twice  at 

first,  later  start  at  once  in  slow  or  moderate  rhythm,  moving  quickly 

and  holding  each  position  relatively  long.) 
Neck   grasp    stride    standing    (quick)    trunk   twisting    from    side    to    side. 

(Rhythmic  as  above.) 
Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alternating  with 

arm   stretching   downward    (three-count   movement).      (On    signal   one 

round,  then  in  moderate,  even  rhythm.) 
Neck  grasp  stride  standing   (quick)    alternate  trunk  twisting   (two  counts 

each  way:  to  left  and  forward,  to  right  and  forward).     (On  signal  one 

round,  then  in  moderate  rhythm.) 
Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alternating  with 

arms  stretching  sideways.     (On  signal  and  rhythmic.) 
Neck   grasp    stride    standing    alternate    trunk    twisting    (two    counts    each 

way),    alternating    with    arm    stretching    downward.       (On    signal    and 

rhythmic. ) 
Arm  bending  with  alternate  foot  placing  sideways,  and  trunk  twisting    (to 

side  of   moved    foot).      (Return   in   reverse   order.      Four   counts   each 

side.      On    signal    one    round,    then    in    slow    or   moderate    rhythm;    all 

movements  quick,  each  position  held.) 
Neck  grasp  stride   standing  trunk   twisting    from    side  to   side,   alternating 

with  arm  stretching  downward,  or  placing  hands  on   hips.      (On  signal 

and  rhythmic.) 


APPENDIX  287 

Alternate  foot  placing  sideways  with  hands  on  neck,  and  trunk  twisting 
(to  side  of  moved  foot).  (On  signal  one  round,  then  in  moderate 
rhythm;  quick  movements.) 

Arm  forward  bend  stride  standing  trunk  twisting  from  side  to  side,  alter- 
nating with  arm  flinging  sideways.  (On  signal  and  rhythmic.) 

Neck  grasp  forward  (or  oblique)  walk  standing  trunk  twisting  (to  side  of 
advanced  foot  only).  (Keep  hips  still  by  holding  knees  rigid.  Mod- 
erate rhythm,  quick  movements.) 

Arm  bend  stride  standing  trunk  twisting  from  side  to  side,  alternating 
with  arm  stretching  upward.  (On  signal  and  rhythmic.) 

Alternate  foot  placing  forward  with  hands  on  neck,  and  trunk  twisting 
(to  side  of  moved  foot).  (Four  counts  each  side;  moderate  rhythm; 
quick  movements.) 

Arm  bend  forward  (or  oblique)  walk  twist  standing  arm  stretching  side- 
ways. (Moderate,  even  rhythm.) 

Neck  grasp  stride  standing  trunk  twisting  from  side  to  side,  alternating 
with  arm  stretching  upward.  (On  signal  and  rhythmic.) 

Arm  bend  oblique  charge  standing  trunk  twisting  to  same  side  (as  charge). 
(On  return  twist  avoid  turning  to  opposite  side.  On  signal  and  in 
rhythm.) 

Alternate  foot  placing  obliquely  outward  with  (placing)  hands  on  hips 
and  simultaneous  trunk  twisting  (to  side  of  moving  foot).  (Hips 
squarely  to  the  front.  On  signal  a  round  or  two,  then  in  slow  rhythm ; 
quick  movements.) 

Arm  bend  forward  (or  oblique)  walk  twist  standing  arm  stretching  up- 
ward. (Rhythmic.) 

Arm  bending  with  alternate  oblique  charge,  and  trunk  twisting  to  same 
side.  (On  signal  and  rhythmic.) 

Alternate  foot  placing  obliquely  outward  with  (placing)  hands  on  neck 
and  simultaneous  twisting  (to  side  of  moving  foot).  (On  signal  one 
round,  then  in  slow  rhythm.) 

Arms  side-horizontal  stride  standing  trunk  twisting  from  side  to  side. 
(At  first  moderate  speed,  later  quick  movements.  Keep  arms  shoulder 
height  and  opposite  arm  well  back.  Slow  rhythm.) 

Arm  flinging  sideways  with  alternate  foot  placing  sideways,  and  trunk 
twisting. 

Neck  grasp  oblique  charge  standing  trunk  twisting  to   same   side. 

Arm  flinging  sideways  with  alternate  foot  placing  forward,  and  trunk  twist- 
ing. 

Neck  grasp  stride  kneeling  trunk  twisting. 

Arms  overhead  stride  twist  standing  arm  parting  (to  side-horizontal, 
palms  up).  (On  signal  and  in  slow  rhythm.) 

Oblique  charge  with  hands  on  neck,  and  trunk  twisting  to  same  side. 

Neck  grasp  oblique  charge  standing  trunk  twisting  to  opposite  side.  (On 
signal  and  rhythmic.) 

Arm  bending  with  oblique  charge,  and  trunk  twisting  to  opposite  side. 

Arm  bending  with  alternate  foot  placing  obliquely  outward,  then  arm 
stretching  sideways  witli  trunk  twisting. 

Oblique  charge  with  hands  on  neck,  and  trunk  twisting  to  opposite  side. 

Arms  side-horizontal  stride  standing  trunk  twisting  all  the  way  in  one 
movement,  alternating  with  arm  bending  and  stretching  sideways. 

Arm  bending  with  oblique  charge  and  simultaneous  trunk  twisting  to  same 
side. 

Arm  bending  with  alternate  foot  placing  (obliquely)  outward,  then  arm 
stretching  upward  with  trunk  twisting. 

Arm   bending   with   alternate    foot   placing   outward,    trunk    twisting,    then 


288  GYMNASTIC  TEACHING 

arm  stretching  sideways  (or  upward)  and  return  in  reverse  order 
(six-count  movement). 

Forward  bending  of  arms  with  alternate  foot  placing  outward,  trunk  twist- 
ing, then  arm  flinging  sideways  (,six  counts). 

Oblique  charge  witli  hands  on  neck  and  simultaneous  trunk  twisting  to 
same  side. 

Arm  bending  with  alternate  foot  placing  outward  and  simultaneous  trunk 
twisting  to  same  side,  then  arm  stretching  sideways  (or  upward). 

Arm  bending  with  oblique  charge  and  simultaneous  trunk  twisting  to  oppo- 
site side. 

Forward  bending  of  arms  with  alternate  foot  placing  outward  and  simul- 
taneous trunk  twisting,  then  arm  flinging  sideways. 

Oblique  charge  with  hands  on  neck  and  simultaneous  trunk  twisting  to 
opposite  side. 

Alternate  foot  placing  outward  with  hands  on  neck  and  simultaneous 
trunk  twisting,  then  arm  stretching  sideways  (or  upward). 

Arm  bending  with  oblique  charge  and  simultaneous  trunk  twisting  to  same 
side,  then  arm  stretching  sideways  (or  upward). 

Arm  flinging  sideways,  palms  up,  with  alternate  loot  placing  outward  and 
simultaneous  trunk  twisting,  then  arm  raising. 

Forward  bending  of  arms  with  oblique  charge  and  simultaneous  trunk 
twisting  to  same  side,  then  arm  flinging  sideways. 

Arm  flinging  forward-upward  with  alternate  foot  placing  outward  and 
simultaneous  trunk  twisting,  then  arm  parting. 

Arm  bending  with  oblique  charge  and  simultaneous  trunk  twisting  to  oppo- 
site side,  then  arm  stretching  upward. 

Arm  bend  standing  oblique  charge  with  trunk  twisting  to  opposite  side 
(head  twisting  to  same  side)  and  simultaneous  arm  stretching,  one  up- 
ward the  other  downward. 

The  forward  charge,  with  the  advancing  foot  turned  straight  ahead,  the 
rear  foot  at  right  angles,  may  take  the  place  of  a  trunk  twisting.  It  corre- 
sponds very  nearly  to  the  oblique  charge  with,  or  followed  by,  a  trunk 
twisting  to  the  same  side,  but  is  less  "definite"  and  therefore  less  powerful 
as  a  twisting  movement. 


Lateral  Trunk  Exercises  (Continued}. 

(2)   Side  Bcndinys,  Leg  Flinging  Sideways  and  Side  Leaning  Rest. 

Hip  grasp  stride  standing  side  bending  all  the  way   from  one  side  to  the 

other  and  immediate  return.      (Slow  rhythm.) 
Hip  grasp  standing  leg  flinging  sideways  repeatedly  to  left,  stop,  then  to 

right.      (Quick   up-and-down   movement,   as   high   as   possible.      Settle 

on    both    feet    at    each    return    and    hold    position    a    moment.      Slow 

rhythm.) 
Stride    standing   side    bending   all    the    way    with    opposite    arm    raising   to 

vertical    (sliding  other  hand   down   and   grasping  knee   to   help   check 

momentum.     High  arm  well  back.     Slow  rhythm.) 
Hip  prasp  stride  standing  alternate  side  bending.      (Two  counts  each   way: 

to   left    and    return,   to   right    and    return.      On    signal    one    round,    then 

in  slow  rhythm,  slow  movements,  each  position  held  a  moment.) 
Hip  grasp  standing  leg  flinging  sideways  left  and   right.     Change  without 

stopping. 
Arm  bend   stride  standing  side  bending  all  ihe   way   irom   one  side  to  the 

other.     (Slow  rhythm,  slow  movement.) 
Hi]>  grasp  stride  standing  alternate  side  bending    (two  counts  each   way). 


APPENDIX  289 

alternating  with  arm  stretching  downward.  (On  signal  one  round, 
then  in  uneven  rhythm:  first  and  second  slow,  third  aad  fourth  quick.) 

Hip  grasp  standing  leg  flinging  sideways  left  and  right.  Unexpected 
changes. 

Neck  grasp  stride  standing  side  bending  all  the  way  from  one  side  to  the 
other.  (Slow  rhythm;  slow,  full-range  movement;  hips  move  in 
opposite  direction.  Head  and  elbows  well  back.) 

Arm  bend  stride  standing  alternate  side  bending  (two  counts  each  way), 
alternating  with  arm  stretching  downward.  (On  signal  once,  then 
in  uneven  rhythm.) 

Hip  grasp  standing  alternate  leg  flinging  sideways.  (Slow  rhythm;  quick 
movements.) 

Neck  grasp  stride  standing  alternate  side  bending  (two  counts  each  way). 
(On  signal  one  round,  then  in  slow  rhythm,  slow,  full-range  move- 
ments.) 

Stride  standing  alternate  side  bending  (two  counts  each  way)  with  oppo- 
site arm  flinging  (or  raising)  sideways-overhead.  (At  first  in  moder- 
ate rhythm,  arm  movement  quick,  side  bending  moderate  speed  and 
not  quite  full  range ;  later  slower,  full-range  movements,  slower 
rhythm.) 

Arm  bend  stride  standing  alternate  side  bending  (two  counts  each  way), 
alternating  with  arm  stretching  sideways.  (On  signal  and  in  uneven 
rhythm.) 

One  hand  on  hip  standing  leg  flinging  sideways  left  and  right  with  opposite 
arm  flinging  sideways  (-upward).  (Slow  rhythm;  quick,  full-range 
movements.  At  first  stop  to  change;  later  change  without  stopping.) 

Neck  grasp  stride  standing  alternate  side  bending  (two  counts  each  way), 
alternating  with  arm  stretching  downward.  (On  signal  and  in  uneven 
rhythm.) 

Alternate  foot  placing  sideways  with  hands  on  hips,  and  side  bending  (to 
side  of  moved  foot).  (On  signal  one  round,  then  in  slow,  uneven 
rhythm :  first  and  fourth  quick,  second  and  third  slow,  full-range  move- 
ments. Hold  each  position.) 

One  hand  on  hip,  one  hand  on  neck  stride  standing  alternate  side  bending 
(to  side  of  lower  hand),  alternating  with  change  of  hands  (three 
counts  on  each  side).  (On  signal  one  round,  then  in  uneven  rhythm: 
first  and  second  slow,  third  quick.) 

Alternate  leg  flinging  sideways  with  opposite  arm  flinging  sideways  (later 
sideways-upward).  (Slow  rhythm;  quick  movements;  settle  on  both 
feet  and  hold  position  a  moment.) 

Alternate  foot  placing  sideways  with  hands  on  neck,  and  side  bending. 
(On  signal  and  in  uneven  rhythm.) 

Arm  forward  bend  stride  standing  alternate  side  bending  (two  counts  each 
way),  alternating  with  arm  flinging  sideways.  (On  signal  once,  then 
in  uneven  rhythm.) 

Alternate  side  charge  with  (placing)  hands  on  hips.  (Trunk  in  line  with 
stationary  leg.  On  signal  a  few  times,  then  in  slow  rhythm ;  quick 
movements,  positions  held  relatively  long.) 

Neck  grasp  standing  leg  flinging  sideways  left  and  right.  (Slow  rhythm; 
unexpected  changes.) 

Alternate  foot  placing  sideways  with  one  hand  on  hip,  the  other  on  neck, 
and  side  bending  (to  side  of  moved  foot  and  lower  hand). 

Hip  grasp  forward  walk  standing  side  bending  (to  side  of  forward  foot). 
(On  signal  and  rhythmic.) 

Closing  of  feet  with  hands  on  neck,  and  side  bending. 

Arms  side-horizontal  stride  standing  side  bending  all  the  way.  (Slow 
rhythm.) 


290  GYMNASTIC  TEACHING 

Neck  grasp  stride  standing  side  bending,  alternating  with  arm  stretching 
sideways. 

Alternate   foot  placing   forward   with   hands  on  hips,  and   side   bending. 

Neck  grasp  standing  alternate  leg  flinging  sideways. 

Arms  side-horizontal  stride  standing  alternate  side  bending  (two  counts 
each  way).  (Rhythmic.) 

Arm  bending  with  alternate  foot  placing  forward,  and  side  bending. 

Neck  grasp  stride  standing  side  bending,  alternating  with  arm  stretching 
upward. 

Arm  flinging  sideways  with  alternate  foot  placing  sideways,  and  side 
bending. 

One  hand  on  hip,  one  arm  overhead,  stride  standing  alternate  side  bending, 
alternating  with  change  of  arm  position  (three  counts  each  side). 
(On  signal  and  rhythmic.) 

Arm  bend  standing  arm  stretching  sideways  with  alternate  foot  placing 
sideways,  and  side  bending. 

Neck  grasp  forward  walk  standing  side  bending.     (On  signal  and  rhythmic.) 

Alternate  side  charge  with  hands  on  neck.     (On  signal  and  rhythmic.) 

Arm  bend  stride  standing  one  arm  stretching  upward  with  placing  of  the 
other  hand  on  hip,  and  side  bending  of  trunk  (four-count  movement, 
alternating  to  left  and  right).  (On  signal  once,  then  in  uneven 
rhythm:  first  and  fourth  quick,  second  and  third  slow.) 

Alternate  foot  placing  forward  with  hands  on  neck,  and  side  bending. 

Side  lunge  with  hands  on  hips,  and  side  bending. 

Forward  bending  of  arms  with  alternate  foot  placing  forward,  and  side 
bending. 

Arm  flinging  sideways  with  alternate  side  charge. 

Arms  overhead  stride  standing  alternate  side  bending. 

Arm  bend  standing  leg  flinging  sideways  left  and  right  with  opposite  arm 
stretching  sideways  (or  upward)  and  placing  hand  on  same  side  on 
hip.  Later  alternate. 

Hip  grasp  side  leaning  rest  and  return   (six-count  movement). 

Alternate  foot  placing  sideways  with  one  arm  overhead,  the  other  hand  on 
hip,  and  side  bending. 

Hip  grasp  ivide  stride  standing  side-and-knee  bending. 

Arm  bend  oblique  walk  twist   standing  side  bending.      (On   signal   only.) 

Arm  flinging  sideways  with  alternate  foot  placing  forward,  and  side  bend- 
ing. 

Low  arm  circling,  palms  up  (one  count),  with  alternate  leg  flinging  side- 
ways. 

Side  lunge  with  hands  on  neck,  and  side  bending. 

Arm  bend  standing  alternate  leg  flinging  sideways  with  arm  stretching 
upward  on  same,  sideways  on  opposite  side. 

Neck  grasp  oblique  walk  twist  standing  side  bending.      (On  signal  only.) 

Arm  flinging  forward-upward  (and  sideways-downward)  with  alternate 
foot  placing  sideways  and  side  bending. 

Neck  grasp  zi-ide  stride  standing  side-and-knee  bending. 

Side  leaning  rest,  about  facing  and  return  to  standing  position  (eight 
counts). 

Arm  flinging  sideways  with  alternate  side  lunge,  and  side  bending. 

Alternate  leg  flinging  sideways  with  high  arm  circling  (one  count  each 
side). 

Alternate   side  charge  with  one  hand   on  hip,   the  other  arm   overhead. 

Arm  bend  standing  arm  stretching  upward  with  alternate  foot  placing  side- 
ways, and  side  bending. 

Arm  side-horizontal  icidc  stride  standing  side-and-knee  bending. 

Alternate  foot  placing  outward  with  hands  on  neck,  trunk  twisting,  then 
side  bending  (six-count  movement). 


APPENDIX  291 

Arm  bending  with  side  lunge,  then  arm  stretching  sideways  with  side  bend- 
ing (one  hand  touching  floor,  the  other  arm  vertically  overhead). 

Arms  side-horizontal  wide  stride  standing  side-and-knee  bending,  alternat- 
ing with  arm  bending  and  stretching  sideways. 

Arm  bend  standing  arm  stretching  upward  with  alternate  side  charge. 

Alternate  foot  placing  outward  with  hands  on  neck  and  simultaneous 
trunk  twisting,  then  side  bending  (four-count  movement). 

Arm  flinging  sideways  with  alternate  wide  foot  placing  sideways,  then  side- 
and-knee  bending. 

Alternate  side  lunge  with  one  arm  overhead,  the  other  hand  on  hip,  and 
side  bending. 

Alternate  side  charge  with  one  arm  flinging  sideways,  the  other  overhead. 

Hip  grasp  standing  side  bending  with  raising  of  leg  on  other  side. 

Oblique  charge  with  hands  on  hips  and  simultaneous  trunk  twisting  to 
opposite  side,  then  side  bending  (to  same  side  as  charge). 

Arm  bending  with  alternate  wide  foot  placing  sideways,  then  arm  stretch- 
ing sideways  with  side-and-knee  bending  (one  arm  vertical,  the  other 
hand  touching  floor). 

Arm  flinging  sideways  with  alternate  foot  placing  outward  and  simultane- 
ous trunk  twisting,  then  side  bending. 

Arms  side-horizontal  standing  side  bending  of  trunk  with  raising  of  leg 
on  other  side. 

Arm  bend  standing  arm  stretching  upward  with  alternate  foot  placing  for- 
ward, and  side  bending. 

Oblique  charge  with  hands  on  neck  and  simultaneous  trunk  twisting  to 
opposite  side,  then  side  bending  (to  same  side  as  charge). 

Side  lunge  with  arm  flinging  sideways  on  same  side,  upward  on  opposite 
side,  then  side  bending  (one  hand  touching  floor,  the  other  arm  hori- 
zontally overhead,  in  line  with  trunk). 

Arm  bend  wide  stride  standing  arm  stretching  sideways  with  side-and-knee 
bending,  alternating  with  arm  stretching  upward. 

Neck  grasp  standing  side  bending  of  trunk  with  raising  of  leg  on  other 
side. 

Forward  bending  of  arms  with  alternate  foot  placing  outward,  arm  fling- 
ing sideways  with  trunk  twisting,  then  side  bending  of  trunk  (six- 
count  movement). 

Arm  flinging  forward-upward  (and  sideways-downward)  with  side  lunge, 
then  side  bending  of  trunk. 

Arm  bending  with  alternate  foot  placing  outward,  arm  stretching  upward 
with  trunk  twisting,  then  side  bending  of  trunk  (six-count  movement). 

Arms  overhead  standing  side  bending  of  trunk  with  raising  of  leg  on 
other  side. 

B-ack  and  Shoulder  Blade  Movements. 

Hip   grasp    stride    standing    forward    bending    of    trunk   45°.      (On    signal 

only.) 

Arm  bend  standing  forward  bending  of  trunk.     (On  signal.) 
Neck  grasp  stride  standing  forward  bending  of  trunk.     (On  signal.) 
Arm  bend  stride  standing  forward  bending  of  trunk,  alternating  with  arm 

stretching   sideways.      (On    signal   and    in    uneven    rhythm :    first    and 

second  slow,  third  and  fourth  quick.) 
Alternate  foot  placing  sideways  with  hands  on  hips,  and  forward  bending  of 

trunk.     (On  signal  and  in  uneven  rhythm:  first  and  fourth  quick,  second 

and  third  slow.) 
Arm  forward  bend  stride  standing  forward  bending  of  trunk,  alternating 

with  arm  flinging  sideways.      (On  signal  and  in  uneven  rhythm.) 


GYMNASTIC  TEACHING 

Neck  grasp  standing  forward  bending  of  trunk,  alternating  with  arm  stretch- 
ing downward.  (On  signal  and  in  uneven  rhythm.) 

Arm  bending  with  alternate  foot  placing  sideways,  and  forward  bending  of 
trunk.  (On  signal  and  in  uneven  rhythm.) 

Hip  grasp  forward  walk  standing  forward  bending  of  trunk.     (On  signal.) 

Alternate  foot  placing  sideways  with  hands  on  neck,  and  forward  bending 
of  trunk. 

Neck  grasp  forward  walk  standing  forward  bending  of  trunk.     (On  signal.) 

Forward  bending  of  arms  with  alternate  foot  placing  sideways,  and  forward 
bending  of  trunk. 

Alternate  foot  placing  forward  with  hands  on  hips,  and  forward  bending 
of  trunk. 

Arm  bend  stride  standing  forward  bending  of  trunk,  alternating  with  arm 
stretching  upward. 

Forward  bending  of  arms  with  closing  of  feet,  and  forward  bending  of 
trunk. 

Arm  bending  with  forward  charge. 

Alternate  foot  placing  forward  with  hands  on  neck,  and  forward  bending  of 
trunk. 

Hip  grasp  toe-support  charge. 

Forward  charge  with  hands  on  neck. 

Arm  flinging  sideways  with  forward  charge. 

Arms  overhead  stride  standing  forward  bending  of  trunk. 

Neck  grasp  toe-support  charge. 

Arm  flinging  sideways  with  alternate  foot  placing  forward,  and  forward 
bending  of  trunk. 

Arm  bend  standing  forward  charge  with  arm  stretching  sideways. 

Arm  bend  oblique  walk  twist  standing  forward  bending  of  trunk. 

Trunk  forward  bend  standing  swimming  movements. 

Arm  bending  with  forward  charge,  then  arm  stretching  sideways. 

Half  sideways  bending  of  arms  with  alternate  foot  placing  forward,  and 
forward  bending  of  trunk. 

Arm  bending  with  alternate  foot  placing  outward,  trunk  twisting,  then  for- 
ward bending  of  trunk  (six  counts). 

Arm  bending  with  toe-support  charge,  then  arm  stretching  sideways. 

Arm  bend  stride  trunk  forward  bend  standing  arm  stretching  upward. 

Arm  flinging  forward-upward  (or  arm  circling)  with  alternate  foot  placing 
sideways,  and  forward  bending  of  trunk. 

Forward  bending  of  arms  with  toe-support  charge,  then  arm  flinging  side- 
ways. 

Alternate  foot  placing  outward  with  hands  on  neck,  trunk  twisting,  then 
forward  bending  of  trunk  (six  counts). 

Arm  bending  with  alternate  foot  placing  sideways,  forward  bending  of 
trunk,  then  arm  stretching  sideways  (six  counts). 

Arm  flinging  forward-upward  with  forward  charge. 

Arms  overhead  trunk  forward  bend  standing  arm  parting. 

Forward  charge  with  hands  on  hips,  and  forward  bending  of  trunk. 

Arm  flinging   forward-upward  with   toe-support  charge. 

Arm  bending  with  alternate  foot  placing  forward,  forward  bending  of 
trunk,  then  arm  stretching  sideways  (six  counts). 

Forward  charge  with  hands  on  neck,  and   forward  bending  of  trunk. 

Alternate  foot  placing  outward  with  hands  on  neck  and  simultaneous  trunk 
twisting,  then  forward  bending  of  trunk. 

Arm  bending  with  toe-support  charge  (or  forward  charge),  then  arm 
stretching  upward. 

Arm  bending  with  oblique  charge,  trunk  twisting  to  same  side,  then  forward 
bending  of  trunk  (six  counts'). 


APPENDIX  293 

Arm  flinging  upward  with  toe-support  (or  forward)  charge,  then  arm  part- 
ing. 

Arm  bending  with  alternate  foot  placing  sideways,  forward  bending  of 
trunk,  then  arm  stretching  upward  (six  counts). 

Hip  grasp  horizontal  balance  position  on  one  foot. 

Arm  bending  with  alternate  foot  placing  forward,  forward  bending  of  trunk, 
then  arm  stretching  sideways  (or  upward)  (six  counts). 

Oblique  charge  with  hands  on  neck,  trunk  twisting  to  same  side,  then  for- 
ward bending  of  trunk  (six  counts). 

Forward  bending  of  arms  with  alternate  foot  placing  outward,  arm  flinging 
sideways  with  trunk  twisting,  then  forward  bending  of  trunk  (six 
counts ) . 

Arm  bending  with  oblique  charge  and  simultaneous  trunk  twisting  to  same 
side,  then  forward  bending  of  trunk. 

Neck  grasp  horizontal  balance  position  on  one  foot. 

Arm  flinging  forward-upward  with  alternate  foot  placing  sideways,  forward 
bending  of  trunk,  then  arm  parting  (six  counts). 

Oblique  charge  with  hands  on  neck  and  simultaneous  trunk  twisting  to  same 
side,  then  forward  bending  of  trunk. 

Arm  bending  with  alternate  foot  placing  outward,  arm  stretching  upward 
with  trunk  twisting,  then  forward  bending  of  trunk  (six  counts). 

Arrrts  overhead  horizontal  balance  position  on  one  foot. 

Arm  bending  (or  placing  hands  on  neck)  with  alternate  foot  placing  out- 
ward and  simultaneous  trunk  twisting,  forward  bending  of  trunk  then 
arm  stretching  sideways  (or  upward)  (six  counts). 

Arm  bending  with  alternate  foot  placing  outward,  arm  stretching  upward 
with  trunk  twisting,  then  forward  bending  of  trunk,  followed  by  arm 
parting  (eight  counts). 


A bdominal  Exercises. 

Knee   Upward  Bending  and  Leg  Flinging  Forward.     Front  Leaning  Rest. 

Foot  Placings  from  Front  Leaning  Rest.     Kneeling  Position: 

Backzi'ard  Leaning  of  Trunk.     Horizontal  Lying  Position: 

Knee    Upward  Bending  and   Leg   Raising. 

Knee  upward  bending  left  and  right,  grasping  knee  and  pressing  it  toward 
chest. 

Hip  grasp  standing  knee  upward  bending  left  and  right  (as  high  as  possible 
without  bending  head  and  upper  trunk  forward).  Position  at  the  end 
of  the  up-stroke  not  held.  On  the  return  the  weight  should  settle  equally 
on  both  feet  and  the  position  be  held  for  an  instant.  At  first,  stop  the 
movement  when  changing  from  one  side  to  the  other.  Later,  changes  are 
made  without  stopping,  and  without  warning.  This  compels  the  settling 
of  the  weight  equally  on  both  feet  and  makes  the  rhythm  slow.  The 
above  applies  also  to  standing  leg  flinging  forward  and  sideways. 

Hip  grasp  standing  leg  flinging   forward  left  and  right. 

Hip  grasp  standing  alternate  knee  upward  bending  (without  holding  the 
fundamental  position  at  the  change.  One  foot  leaves  the  floor  a?  the 
other  strikes). 

Hip  grasp  standing  alternate  leg  flinging  forward  (position  held  at  the 
change). 

Neck  grasp  standing  alternate  knee  upward  bending. 

Neck  grasp  standing  alternate  leg  flinging  forward. 

Hip  grasp  toe  standing  alternate  knee  upward  bending  (position  not  held  at 
the  change). 


294  GYMNASTIC  TEACHING 

Alternate  knee  upward  bending  with  opposite  arm  flinging  forward. 

Neck  grasp  toe  standing  alternate  knee  upward  bending   (position  not  held 

at  the  change). 
Hip  grasp  toe  standing  knee  upward  bending  right  and  left  (position  held  a 

moment  each  time). 
Alternate  leg  flinging  forward  with  opposite  arm  flinging  sideways-upward 

(one  count  each  side). 

Hip  grasp  standing  leg  circling,  one  side  at  a  time  and  alternate. 
High  arm  circling  (one  count)  with  alternate  leg  flinging  forward. 
Front  leaning  rest  (prone  falling  position)  and  return   (four  counts). 
Front  leaning  rest  with  one  foot  forward,  the  other  leg  extended :  alternate 

foot  placing  forward-backward. 
Front  leaning  rest :   foot  placing   (both   feet)    forward  and  backward  once 

and  return   (six  counts). 

Front  leaning  rest :  foot  placing  forward  and  backward  repeatedly. 
Front  leaning  rest:   foot  placing  sideways   (both   feet  simultaneously)    once 

and  return  (six  counts). 

Front  leaning  rest :  foot  placing  sideways  repeatedly. 
Front  leaning  rest:  arm  bending  once  and  return  (six  counts). 
Front   leaning   rest :    foot   placing    forward  and   backward   once,   then   arm 

bending  once,  and  return   (eight  counts). 
Front  leaning  rest :  arm  bending  repeatedly. 
Hip  grasp  stride  kneeling  backward  leaning  of  trunk.     (The  movement  takes 

place  at  the  knee.     Head,  chest,  upper  and  lower  back  should  be  kept 

in  the  fundamental  position.     On  signal.     Try  slow  rhythm.) 
Hip  grasp  half  kneeling  backward  leaning  of  trunk.      (On  one  knee;  the 

other  foot  advanced  far  enough  to  flex  the  knee  on  that  side  90°.) 
Kneeling  and  half  kneeling  backward  leaning  of   trunk   with   arms   in  the 

bend,  neck  grasp,  and  overhead  positions. 

Neck  grasp  (or  arms  overhead)  lying  knee  upward  bending  left  and  right. 
Neck  grasp  lying  alternate  knee  upward  bending  (eacli  movement  completed 

before  the  next  one  begins,  or  both  beginning  at  the   same  time;   one 

from  the  bent,  the  other  from  the  extended,  position). 
Neck  grasp  lying  knee  upward  bending  (both  at  the  same  time). 
Neck  grasp  lying  alternate  knee  upward  bending   and   stretching   obliquely 

upward   (45°). 
Neck  grasp   lying  alternate  leg   raising    (each  movement   completed   before 

the  next  begins). 
Neck  grasp  lying  knee  upward  bending  and  stretching  obliquely  upward  to 

45°  angle   (both  moving  together). 
Neck  grasp  lying  leg  raising   (both  at  the  same  time). 
Neck  grasp  lying  alternating  leg  raising  (both  moving  at  the  same  time,  but 

in  opposite  directions). 

Neck  grasp  lying  leg  raising  and  sinking  sideways   (both  moving  together). 
Neck  grasp  lying  leg  circling   (both  moving  together). 


Balance   lixcrciscs. 

Hip  grasp  close  toe  standing  position. 

Hip  grasp  standing  position  on  one  foot,  the  other  raised   forward. 

Neck  grasp  close  toe  standing  position. 

Hip  grasp  standing  position  on  one  foot,  the  other  knee  raised. 

Hip  grasp  standing  position  on  one  foot,  the  other  raised  sideways. 

Hip  grasp  toe  standing  head  twisting. 

Hip  grasp   forward  walk  toe  standing  position. 


APPENDIX  295 

Hip  grasp  standing  alternate  knee  upward  bending  (two  counts  each  side), 
on  signal  or  in  slow  rhythm  (quick  movements),  stopping  unexpectedly. 

Preparation  for  balance  march,  advancing  one  foot  and  raising  the  heel  of 
the  other  foot  in  separate  movements  (on  signal). 

Hip  grasp  toe  standing  knee  bending. 

Balance  march,  each  step  complete,  on  signal. 

Hip  grasp  forward  walk  toe  standing  head  twisting. 

Hip  grasp  toe  standing  march  steps  forward  and  backward  (each  on  signal). 

Balance  march,  continuous  movement,  slow  rhythm. 

Hip  grasp  standing  alternate  knee  upward  bending  and  stretching  forward. 
(On  signal  and  in  slow,  even  rhythm;  quick  movements.) 

Hip  grasp  standing  position  on  one  foot,  the  other  knee  raised  :  change  feet 
in  one  quick  movement  (with  a  jump,  on  signal). 

High  arm  circling  (two  counts)  with  alternate  leg  raising  sideways.  (On 
signal.) 

Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward  :  change 
feet  in  one  quick  movement  (with  a  jump). 

Hip  grasp  toe-knee  bend  standing  head  twisting. 

Balance  march  with  knee  upward  bending  and  stretching  forward-downward. 
(On  signal  and  in  uneven  rhythm.) 

Hip  grasp  standing  position  on  one  foot,  the  other  raised  sideways :  change 
feet  in  one  quick  movement. 

Arms  overhead  forward  walk  toe  standing  arm  parting. 

Hip  grasp  standing  position  on  one  foot,  the  other  raised  forward :  bending 
of  knee  of  supporting  leg. 

Neck  grasp  toe  standing  alternate  knee  upward  bending.     (Rhythmic.) 

Hip  grasp  toe-support  charge  position. 

Arm  bending  and  stretching  sideways  with  alternate  knee  upward  bending 
and  stretching  forward.  (On  signal  and  rhythmic.) 

Neck  grasp  toe-support  charge  position. 

Forward  bending  and  side-flinging  of  arms  with  alternate  knee  upward  bend- 
ing and  stretching  forward. 

Hip  grasp  forward  walk  standing  heel  raising  and  knee  bending. 

Neck  grasp  standing  position  on  one  foot,  the  other  raised  forward  :  knee 
bending  (supporting  leg). 

Arms  side-horizontal  toe-support  charge  position. 

Arm  bending  and  stretching  upward  with  alternate  knee  upward  bending  and 
stretching  forward. 

Arms  side-horizontal  standing  position  on  one  foot,  the  other  raised  for- 
ward: heel  raising  (pupils  support  each  other  by  joining  hands). 

Arms  overhead  toe-support  charge  position. 

Balance  march  with  knee  upward  bending  and  stretching  forward-downward 
with  arm  bending  and  stretching  sideways  or  upward  and  slow  lowering 
sideways-downward  (or  with  forward  bending  and  side  flinging  of  arms 
and  slow  sinking;  or  with  high  arm  circling,  three  counts). 

Hip  grasp  standing  side  bending  of  trunk  with  raising  of  opposite  leg. 

Arms  side-horizontal  standing  position  on  one  foot,  the  other  raised  side- 
ways:  heel  raising  (pupils  support  each  other). 

Hip  grasp  horizontal  balance  position  on  one  foot  (leg  raising  from  toe- 
support  charge  position). 

Arms  side-horizontal  standing  position  on  one  foot,  the  other  raised  forward  : 
heel  raising  (without  support). 

Neck  grasp  standing  side  bending  of  trunk  with  raising  of  opposite  leg. 

Neck  grasp  horizontal  balance  position  on  one  foot. 

Arms  side-horizontal  standing  side  bending  of  trunk  with  raising  of  opposite 
leg. 

Arms  overhead  horizontal  balance  position  on  one  foot. 


296  GYMNASTIC  TEACHING 

Arm  Movements. 

I  In  the  beginning  of  any  series  of  lessons  many  of  the  following  arm 
movements  may  be  practiced  separately  as  shoulder  blade  exercises  or  prepara- 
tory stretching  exercises.  Many  of  them  may  be  used  at  any  time  as  breath- 
ing exercises.  As  fast  as  their  correct  execution  is  mastered,  they  may  be  used 
in  combination  or  alternation  with  leg  and  trunk  movements,  serving  to  in- 
crease the  complexity  and  power  of  the  latter.  Care  must  be  taken,  however, 
to  distribute  this  class  of  movements  judiciously  throughout  a  lesson,  to  vary 
the  types  and  to  avoid  excessive  recurrence.] 

Arm  bending  and  stretching  downward  (in  even  rhythm). 

Arm  raising  or  flinging  sideways. 

Arm  rotation   (turning  of  hands). 

Forward  bending  of  arms  (not  well  suited  for  rhythmic  repetition,  though 
may  be  so  used  if  positions  at  each  end  of  the  movement  are  well 
sustained). 

Placing  hands  on  neck  (on  signal  only). 

Arm  bending  and  stretching  sideways   (in  even  rhythm). 

Arm  raising  or  flinging  sideways  with  palms  up. 

Arm  bending  and  stretching  sideways  and  downward  (at  first  in  even,  later 
uneven,  rhythm,  holding  the  extended  longer  than  the  flexed  position). 

Arm  bend  standing  arm  stretching  sideways  with  palms  up  (slow  or  quick, 
on  signal  or  in  rhythm). 

Forward  bending  and  side  flinging  of  arms,  then  flinging  (or  slow  sinking) 
downward.  (On  signal  and  rhythmic.) 

Arm  bending  and  stretching  obliquely  upward  (in  even  and  uneven  rhythm). 

Forward  bending  and  side  flinging  of  arms  and  return  in  reverse  order. 
(On  signal  and  rhythmic.) 

Low  arm  circling  or  arm  raising  or  flinging  forward-sideways  (return 
through  side  plane).  (On  signal  and  rhythmic.) 

High  arm  circling  (two  counts)  (arm  raising  or  flinging  forward-upward 
and  returning  through  side  plane,  turning  palms  down  as  arms  pass  the 
horizontal,  without  stopping). 

Low  arm  circling  or  arm  raising  or  flinging  forward-sideways,  palms  up 
(two  counts). 

Arm  bending  and  stretching  upward   (even  rhythm). 

Arms  frolic-horizontal  standing  arm  parting,  palms  down  or  up  (slow  or 
quick).  (In  the  latter  case  arm  flinging  sideways  is  a  better  designa- 
tion. The  return  movement  is  best  done  slowly  in  any  case.) 

Arm  bending  and  stretching  upward  and  downward  (in  even  and  uneven 
rhythm). 

Arm  flinging  forward,  sideways  (palms  down  or  up)  and  downward  (three- 
count  movement,  each  part  ([nick,  positions  held  momentarily). 

Arm  bending  and  stretching  upward  and  sideways  (in  even  or  uneven 
rhythm). 

Half  sideways  bending  of  arms   (on  signal  only). 

Arms  side-horizontal  (palms  up)  standing  arm  raising  (or  flinging  upward). 
(On  signal  and  rhythmic.) 

High  arm  circling,  three  counts  (arm  flinging  forward-upward,  then  side- 
ways with  palms  up  and  then  downward;  all  quick  movements,  or  first 
and  second  quick,  third  slow). 

Neck  grasp  standing  arm  stretching  sideways  or  upward. 

Arm  raising  or  flinging  sideways-upward   (continuous  movement  each  way). 

Ann  flinging  forward,  sideways  (palms  down  or  up),  forward  and  down- 
ward. 

Arms  overhead  standing  arm  parting    (slow,  on  signal). 

Arm  bending  and  stretching  backward   and   sideways    (uneven   rhythm). 


APPENDIX  297 

Arm  bending  and  stretching  one  sideways,  the  other  downward   (on  signal 

and  in  even  or  uneven  rhythm). 
Arm    bending    and    stretching    forward    and    sideways    (even    and    uneven 

rhythm). 

Arm  bending  and  stretching  upward  and  sideways    (uneven  rhythm). 
Arm   flinging   sideways   and   upward    (returning   sideways   and   downward; 

hands  are  turned  on  the  second  and  fourth  counts). 
Arm   bending   and    stretching   upward,    sideways,    and    downward    (uneven 

rhythm). 

Arm  bending  and  stretching  one  upward,  the  other  downward. 
Arm  bending  and  stretching  forward,  upward,  and  sideways. 
Arm  bending  and  stretching  one  upward,  the  other  sideways. 
Arm  bending  and  stretching  forward,  upward,  sideways  and  downward. 
Arm  bending  and  stretching  one  forward,  the  other  sideways 

Charges. 

Hip  grasp  standing  oblique  charge  or,  preferably,  oblique  charge  with  (plac- 
ing of)  hands  on  hips. 

Arm  bending  with  oblique  charge. 

Forward  charge  with  hands  on  hips. 

Oblique  charge  with  hands  on  neck. 

Arm  bending  with  forward  charge. 

Forward  bending  of  arms  with  oblique  charge. 

Forward  charge  with  hands  on  neck. 

Forward  bending  of  arms  with  forward  charge. 

Side  charge  with  hands  on  hips. 

Arm  flinging  sideways  with  forward  charge. 

Hip  grasp  toe-support  (reverse)  charge,  or  toe-support  charge  with  hands 
on  hips. 

Arm  bending  with  oblique  charge,  then  trunk  twisting  to  same  side. 

Side  charge  with  hands  on  neck. 

Arm  bend  standing  arm  stretching  sideways  with  forward  charge. 

Arm  bending  with  toe-support  charge. 

Arm  bend  standing  oblique  charge  with  arm  stretching  upward  on  the 
same  side  (as  charge)  downward  on  opposite  side.  Return  in  the  usual 
way,  or  by  afterstep  (rear  foot  to  the  advanced  foot). 

Forward  bending  of  arms  with  side  charge. 

Forward  bending  of  arms  with  toe-support  charge. 

Forward  bending  of  arms  with  forward  charge,  then  arm  flinging  sideways. 

Oblique  charge  with  hands  on  neck,  then  trunk  twisting  to  same  side. 

Arm  flinging  sideways  with  toe-support  charge. 

Reverse  oblique  charge  with  hands  on  hips. 

Arm  flinging  sideways  with  side  charge. 

Arm  flinging  forward-upward  with  forward  charge. 

Arm  bending  with  oblique  charge,  then  trunk  twisting  to  opposite  side. 

Reverse   (backward)   charge  with  hands  on  hips. 

Arm  bend  standing  arm  stretching  upward  with  forward  charge.  Return  in 
the  usual  way,  or  by  afterstep. 

Reverse  oblique  charge  with  hands  on  neck. 

Toe-support  charge  with  hands  on  neck. 

Oblique  charge  with  hands  on  neck,  then  trunk  twisting  to  opposite  side. 

Reverse   (backward)   charge  with  hands  on  neck. 

Arm  bending  with  forward  charge,  then  arm  stretching  sick-ways. 

Arm  bending  with  reverse  oblique  charge,  then  trunk  twisting  to  sick-  of  bent 
leg. 

Side  charge  with  lower  hand  on  hip,  upper  on  neck. 


298  GYMNASTIC  TEACHING 

Forward   charge   with   arm   flinging    forward-upward   on  opposite   side    (or 

same  side). 

Arm  flinging  sideways  with  reverse   (backward)   charge. 
Toe-support  charge  with  arm  flinging  overhead. 
Arm  bending  with  oblique  charge  and  simultaneous  trunk  twisting  to  same 

side. 

Arm  bending  with  forward  charge,  then  arm  stretching  upward. 
Reverse  oblique  charge  with  hands  on  neck,  then  trunk  twisting  to  side  of 

rear  foot. 

Side  charge  with  one  arm  flinging  sideways,  the  other  overhead. 
Arm  bending  with  oblique  charge  and  simultaneous  trunk  twisting  to  oppo- 
site side. 
Arm  bending  with  forward  charge,  then  arm  stretching  downward  on  same 

side   (as  charge),  upward  on  opposite  side.     Afterstep. 
Arm  bending  with  reverse  oblique  charge  and  simultaneous  trunk  twisting 

to  side  of  bent  leg. 
Oblique  charge  with  hands  on  neck  and  simultaneous  trunk  twisting  to  same 

side.     Same  with  twisting  to  opposite  side. 
Arm  bend  standing  oblique  charge  with  arm  stretching  upward  on  same  side, 

downward   on   opposite   side   and   with    simultaneous   trunk   twisting   to 

opposite  side,  head  twisting  to  same  side.     Return  in  the  usual  way,  cr 

with  afterstep. 
Same  with  reverse  oblique  charge. 

NOTK. — In  all  oblique  charges  in  which  the  return  is  made  by  replacing 
the  advanced  foot,  the  change  may  be  accompanied  by  a  90°  facing,  so 
that  each  foot  strikes  the  floor  in  the  same  place. 

Free-Standing  Jumps,  Toe  Jumps,  etc. 
(See  page  178.) 


2.     APPARATUS  EXKRCISKS. 

TERMINOLOGY. 

Positions: 

Standing  position.     On  one  foot  or  both  feet. 

Sitting   position.      Body   vertical,   hip   flexed  90°    (one   or   both)  ;   knee 

straight  or  flexed  90°   (one  or  both). 

Hanging  position.     Hands  at  least  shoulder  distance  apart. 
Upper  arm  hanging  position.     Body  supported  on  (forearms  and)  upper 

arms. 

Inverted  hanging  position.     Head  down ;  body  approximately  straight. 
Heel-support    hanging    position.      Body    straight,    partly    supported    on 

"heels ;  face  up ;  hands  at  least  shoulder  distance  apart ;  grasp  usually 

at  shoulder  height,  but  may  be  lower. 
Toe-support   hanging   position.      Body   as   straight   as   possible    (though 

inevitably    more    or    less    arched),    partly    supported    on    toes;    face 

down  ;  hands  and  grasp  as  for  heel-support  hanging  position. 
Knee  hanging  position    (inverted). 
Riding  position.     Support  on  thighs  only. 

Rests   (body  partly  supported  on  arms,  partly  on  legs)  : 

Front  rest.  On  hands  and  thighs,  facing  at  right  angles  to  the  sup- 
port;  body  straight  or  slightly  arched,  inclined  about  45°. 

Free  front  rest  (momentary).  No  support  on  thighs;  body  straight, 
approaching  horizontal. 


APPENDIX  299 

Oblique  front  rest  (occurs  on  parallel  bars  only).  Body  straight, 
supported  on  hands  (one  on  each  bar)  and  on  one  thigh,  facing 
downward,  30°-40°  to  the  support ;  inclined  about  30°  to  the  hori- 
zontal. 

Back  rest.  Support  on  hands  and  buttocks.  Body  straight,  facing  up, 
and  at  right  angles  to  the  support.  Inclination  about  45°. 

Oblique  back  rest  (on  parallel  bars  and  horse  chiefly).  On  hands  and 
one  hip.  Face  up  and  turned  about  45°  away  from  support.  In- 
clination 45°-60°  to  horizontal. 

Cross  rest  (on  parallel  bars).  Body  straight  and  vertical,  supported 
entirely  on  hands. 

Riding  rests,  body  erect,   supported  partly  on  hands,  partly  on  thighs. 

(a)  Cross  riding  rest:   facing  in  the  direction  of  the  long  axis  of  the 
apparatus  (parallel  bars,  horse),  support  on  inside  of  thighs. 

(b)  Side  riding  rest:   facing  at  right  angles  to  long  axis  of  apparatus, 
support  on  front  of  one  thigh,  back  of  the  other. 

Grasps: 

Ordinary  or  overgrasp.     Palms   facing  forward. 
Reverse  grasp.     Palms  facing  backward. 
Combined  grasp.     One  hand  each  way. 

Wide  and  narrow  grasp.  More  and  less  than  shoulder  distance  between 
hands. 

Movements: 

Mounts.     A   spring    from  both    feet    (usually),   preceded  or   not   by   a 

short    run,   to    stated    position   on    apparatus.      When    mounting   to 

middle  of  parallel  bars  from  ends,  swing  arms  straight,  inside  bars. 
Principal  mounts:  squat,  straddle,  half  squat  half  straddle  mounts;  face 

vault   and   side   vault   mounts.      Like   corresponding   vaults.     Jump 

mount  (usually  from  one  foot)  to  standing  position  on  one  foot  or 

both  feet. 
Dismounts.     From  position  on  apparatus  to  floor. 

Forward :    in    the    direction  '  faced    when    in    the    last    position    on 
apparatus. 

Backward :  in  the  opposite  direction. 

Sideways  :  in  a  direction  at  right  angles  to  last  position. 

Face    (vault)    dismount   left  and  right:   front  of   the  body  toward 
apparatus  at  moment  of  leaving  it. 

Back    (vault)    dismount   left  and  right:   back  of   the  body  toward 
apparatus  when  leaving  it. 

Side    (vault)    dismount:   side  of  the  body  toward  apparatus   when 

leaving  it. 
Jumps.     From  one  foot  or  both  feet  without  help  of  hands  to  or  over 

apparatus. 

Hop  :  spring  from  one  foot,  land  on  same  foot. 

Step  :  spring  from  one  foot,  land  on  the  other. 

Jump :   spring    from  one    foot   or   both    feet,   land   on   both    feet,   or 

in  any  given  position  on  apparatus. 
Vaults.     From  one  foot  or  both   feet,  over  an  apparatus   with  support 

on  one  or  both  hands. 

I.     Vertical  vaults  :  body  erect  when  passing  apparatus,  only  momen- 
tary support  on  hands. 

Squat  vault :  feet  pass  between  hands. 

Straddle  vault :  feet  pass  outside  of  hands. 

Half  squat  half  straddle  vault:  one   foot  between,  other   foot  out- 
side hands.     Left  and  right  refer  to  outside  foot. 


300  GYMNASTIC  TEACHING 

Knee  vault :  between  hands,  with  momentary  support  on  and  quick 

spring  from  lower  leg. 
Half  knee  half  straddle  vault:  as  preceding  with  one  knee,  other 

leg  straight,  on  outside  of  hand. 
Front   vault :   between   hands ;    body   approximately   in    fundamental 

position,  somewhat  arched.     Chest  leading,  feet  last. 
Rear   (or  backward)    squat  vault:  as  squat  vault,  but  body  turned 

180°  before  passing  apparatus. 
Rear    (or   backward)    straddle   vault:   as   straddle   vault,   but   body 

turned  180°  before  passing  apparatus. 
Cross-legged  straddle  vault :   feet  outside  hands,  legs  crossed,  hips 

turned,  shoulders  square  to  the  front. 
II.     Horizontal    vaults:    body    approximately    in    horizontal    position 

when   passing   apparatus ;    support   on   hands    somewhat    longer 

than  in  vertical  vaults. 
Face   vault:    front   of   body   toward   apparatus   at    the   moment   of 

passing  it. 

Side  vault :  side  of  the  body  toward  apparatus. 
Back  vault:  back  of  the  body  toward  apparatus.     (There  is  about 

110°  bend  at  the  hips.) 
Oblique    (back)    vault:    from   one    foot    with    support   of    opposite 

hand.     Back  of  body  toward  apparatus.     Direction  of  approach 

and  passing  apparatus  about  45°. 
Turns.       On     apparatus     or     on     landing     in     vaults     and     dismounts: 

K=90°,  ^  =  180°,  54=270°,  full  turn=.V)0°. 
Circles.     1.     Body.     Forward:     head    moves     in    the     direction     faced. 

Backward  :  in  opposite  direction. 
2.     Leg.     Half  circle  =  180°  ;  full  circle  =  360°. 

Left :   in   direction  opposite   hands  of  clock.      Right :   with 
hands  of  clock. 


(I)     APPARATUS  KXKRCISKS  FOR  WOMKN. 

Horizontal  Ladder. 

Hanging  position  (one  hand  on  each  side,  several  pupils  at  once).    Dismount. 

Hanging  position:  alternate  knee  upward  bending  (two  counts  each  side). 

Hanging  position  :  alternate  side  swing  from  waist. 

Travel  forward,  hands  outside,  with  side  swing  from  waist. 

Travel  backward,  hands  outside,  with  side  swing  from  waist. 

Hanging  position:  alternate  knee  upward  bending  (both  move  simultane- 
ously, in  opposite  directions  ) . 

Travel  forward,  hands  outside,  without  swing. 

Travel  backward,  hands  outside,  without  swing. 

Hanging  position:  alternate  knee  upward  bending  and  stretching  forward. 

Travel  sideways,  hands  on  outside,  with  swing  from  waist,  left  hand  leading, 
then  right  hand  leading. 

Hanging  position:  knee  upward  bending  (both). 

Hanging  position  :  side  swing  from  waist  and  shoulders,  with  alternate  arm 
bending. 

Travel  sideways  without  swing.     Left  and  right  hand  leading. 

Hanging  position:  knee  upward  bending  (both)  with  simultaneous  alternate 
trunk  twisting  and  slight  swinging  to  same  side. 

Rotary  traveling  forward  on  rungs,  skipping  one,  turning  forward  ISO0 
alternately  left  and  right  with  swing.  Grasp  each  time  with  palm  facing 
forward. 


APPENDIX  301 

Swing  jump  (start  from  bench  placed  close  to  wall). 

Travel  forward  on  rungs,  one  at  a  time,  first  left  hand  leading,  then  right 

hand. 

Start  swing,  dismount  on  first  backward  swing. 
Rotary  traveling  backward  on  rungs,  skipping  one,  turning  (backward)  180° 

left  and  right.     Grasp  with  back  of  hand  facing  in  the  direction  of  the 

movement. 
Travel  backward  on  rungs,  one  at  a  time,  first  left  hand  leading,  then  right 

hand. 

Short  jumps  forward,  hands  on  sides  of  ladder. 
Start  swing,  dismount  on  next  forward  swing. 
Travel  forward  and  backward  on  rungs,  skipping  one  at  each  step,  without 

swing. 
Travel  sideways  on  rungs,  left  hand  leading,  then  right  hand. 

High  Boom. 

Hanging  position.     Dismount. 

Hanging  position:  alternate  knee  upward  bending   (two  counts  each  side). 

Hanging  position :  alternate  side  swing  from  waist. 

Hanging  position  :  alternate  knee  upward  bending  (both  move  simultaneously, 

in  opposite  directions). 

Hand  traveling  sideways,  left  and  right  leading,  with  side  swing  from  waist. 
Hanging  position  :  alternate  knee  upward  bending  and  stretching   forward. 
Hand  traveling  sideways,  left  and  right  leading,  without  swing. 
Hanging  position:  knee  upward  bending  (both). 
Hanging  position  :  side  swing  from  waist  and  shoulders,  with  alternate  arm 

bending. 
Rotary  hand  traveling  forward   (combined  grasp),  turning   (forward)    180° 

left  and  right  alternately. 
Jump  to  bent  arm  hanging  position  with  combined  grasp,  slow  arm  stretching. 

(Use  assistance,  if  necessary,  on  the  mount.) 

Hanging  position:  knee  upward  bending   (both)   with  alternate  trunk  twist- 
ing and  swing  to  same  side. 
Jump    from   behind   boom,    swing    forward    and   dismount    (—swing    jump, 

standing  start,  from  both  feet). 
Rotary   hand   traveling   backward    (combined   grasp),    turning    (backward) 

180°   left  and  right  alternately. 

Jump  from  behind  boom,  start  swing,  dismount  on  first  backward  swing. 
Jump  from  behind  boom,  start  swing,  dismount  on  next  forward  swing. 
Rotary  hand  traveling,  starting  with  reverse  grasp,  turning  180°  left  to 

ordinary  grasp,  etc.     Repeat  turning  to  right  each  time. 
Jump,  start  swing,  dismount  on  first  backward  swing  with  90°  turn  left  and 

right. 
Jump,  start  swing,  dismount  on  next  forward  swing  with  90°  turn  left  and 

_  right. 
Swing  jump,  running  start  from  both  feet,  without  and  with  turns  on  landing. 

Lott'  Boom. 

1.     Suspension  exercises. 

Grasp  arm  bend  toe  standing  arm   stretching   with   knee  bending    (boom   at 

height  of  chin). 
Heel-support  hanging  position   (boom  at  height  of  shoulders  or  lower)    and 

return  by  moving  one  foot  at  a  time. 
Heel-support  hanging  position  :   arm  bending  and   return   through    full   knee 

bend  standing  position. 


302  GYMNASTIC  TEACHING 

Heel-support  hanging  position :  hand  traveling  sideways. 

Heel-support  hanging  position:  touch  floor  with  left  hand,  then  right  hand. 

Heel-support  hanging  position  :  arm  bending  four  to  six  times ;  swing  up  to 
standing  position. 

Heel-support  hanging  position  :  hand  traveling  sideways  with  bent  arms. 

2.     Arm  support  exercises  and  vaults. 

(All  exercises  to  be  done  from  standing  start.  Boom  height  of  hips  or 
waist.) 

Free  front  rest.     (With  assistance.) 

Front  rest,  dismount  backward. 

Preparation  for  side  vault:  swing  legs  left  and  right. 

Front  rest,  dismount  backward  with  90°  turn  left  and  right. 

Low  side  vault  left  and  right  ("helping"  with  upper  foot  at  first,  if  neces- 
sary). 

Free  front  rest  with  90°  turn  on  landing. 

Forward  circle  to  sitting   position  on  floor. 

Front  rest :  reverse  grasp,  forward  circle  to  heel-support  hanging  position, 
swing  up  to  standing  position. 

Low  face  vault  left  and  right   (combined  grasp). 

Reverse  grasp :  backward  circle  to  front  rest ;  dismount  backward ;  or  return 
by  forward  circle  to  heel-support  hanging  position  (boom  at  height  of 
shoulders). 

Back  vault  left  and  right. 


Double  Boom. 

Serpentine  traveling  (from  grasp  sitting  position.     Pupils  move  around  each 

other). 
Standing   oblique   vault    from   outside    foot,   outside   hand   on    upper    boom, 

inside  hand  on  lower  boom. 

Running  oblique  vault  from  one  foot,  one  hand  on  each  boom. 
Running  oblique  swing  jump  from  one  foot,  both  hands  on  upper  boom. 
Running  side  vault  left   (from  both  feet,  left  hand  on  upper,  right  hand  on 

lower  boom). 
Running  side  vault  right    (from  both   feet,  right  hand  on  upper,  left  hand 

on  lower  boom). 

Running  oblique  swing  jump  from  both  feet,  both  hands  on  upi>er  boom. 
Running  back  vault  left,  left  hand  on  upper,  right  hand  on  lower  boom. 
Running  back  vault  right,  right  hand  on  upper,  left  hand  on  lower  boom. 
Running  side  vault  left  with  90°  right  turn. 
Running  side  vault  right  with  90°   left  turn. 
Running  back  vault  left  with  90°  left  turn. 
Running  back  vault  right  with  90°  right  turn. 
Running  swing  jump    (perpendicular  approach)    from  both   feet. 
With  upper  boom  at  height  of  head:  run,  mount  to  lower  boom,  stepping  on 

left    foot,   swing   right   leg  over   upper  boom,   shift   right   hand   outside 

right  leg,   left   half  circle  of  left  leg  with   quarter  turn    (roll   on   right 

thigh)   to  floor.     Repeat  on  other  side. 
Run,  mount  to  lower  Ixxnn    (stepping  on  left  or   right   foot),    (high)    face 

vault  left,  left  hand  on  lower,  right  hand  on  upper  boom.     (High)    face 

vault  right,  right  hand  on  lower,  left  hand  on  upper  boom. 
With  upper  boom  at  height  of  shoulders  :  running  mount  to  momentary  front 

rest,  then  high   face  vault  left,  left  hand  on  lower,  right  hand  on  upper 

boom. 
High  face  vault  right,  right  hand  on  lower,  left  hand  on  upper  boom. 


APPENDIX  303 

Saddle  Boom. 
(All  exercises  to  be  done  with  running  start.) 

Free  front  rest   (with  assistance). 

Preparation  for  side  vault :  swing  legs  to  left  and  right. 

Squat  mount,  dismount  forward   (ordinary  or  rising  dismount). 

Half  squat  mount  (other  leg  behind)  ;  rising  dismount  forward. 

Squat  vault. 

Half  squat  half  straddle  mount;  rising  dismount. 

Side  vault  left  and  right. 

Half  squat  half  straddle  vault  left  and  right. 

Side  vault  left  and  right  with  90°  turn  right  and  left,  respectively. 

Straddle  vault. 

Back  vault  left  and  right. 

Vertical  Ropes. 

Grasp  arm  bend  toe  standing  arm  stretching  with  knee  bending. 

Heel-support  hanging  position :  arm  bending ;  return  through  knee  bend 
standing  position. 

J  ump  to  hanging  position ;  dismount. 

Heel-support  hanging  alternate  leg  raising. 

Jump  to  bent  arm  hanging  position:  slow  arm  stretching. 

Heel-support  hanging  position  :  touch  floor  with  left  and  right  hand. 

Climbing  position  (arms  straight,  hips  and  knees  flexed,  feet  well  forward). 

Run,  swing  forward,  then  backward  and  dismount. 

Climbing  position :  arm  bending  and  stretching. 

Toe-support  hanging  position  by  placing  one  foot  at  a  time  backward. 

Run,  start  swing,  dismount  on  forward  swing. 

Climbing,  using  arms  and  legs,  in  three  distinct  movements:  (1)  Jump  to 
climbing  position  with  straight  arms,  etc. ;  (2)  straighten  knees,  hips 
and  back,  then  bend  arms  and  immediately  (3)  shift  hands  as  high  as 
possible  (straight  arms).  Then  (1)  draw  knees  up  with  feet  well  for- 
ward, keeping  arms  straight;  (2)  straighten  knees,  hips,  etc.  (as  before). 

Run,  jump  (before  ropes  pass  the  vertical)  to  bent  arm  hanging  position. 
Dismount  on  next  backward  or  forward  swing. 

Run,  jump,  grasp  as  high  as  possible  and  at  the  same  time  raise  legs;  dis- 
mount on  next  backward  swing. 

Run,  jump,  take  high  grasp  with  bent  arms,  raise  legs,  dropping  head 
and  shoulders  backward,  then  arch  back  and  dismount  (—swing  jump). 

Climbing  on  two  ropes.  Movements  the  same  as  when  climbing  on  one 
rope,  but  the  hands  should  be  shifted  simultaneously,  and  very  quickly, 
as  soon  as  arms  are  bent  and  legs  straight. 

Inverted  hanging  position  on  two  ropes.  Return  forward  by  bending  at  hips, 
and  with  arm  bending. 

Horizontal  or  oblique  climbing  from  rope  to  rope.  Climb  up  a  little  on  one 
rope,  grasp  the  next  rope  with  one  hand,  then  with  the  legs,  then  release 
grasp  of  other  hand  and  repeat  immediately. 

Quick  backward  circle  between  two  ropes. 

Inverted  hanging  position  on  one  rope. 

Running  swing  jump  on  one  rope. 

]]7mdow  Ladder. 

Climb  up  one  or  two  spaces  and  return  (opposite  hand  and  foot  moving 
together ) . 


304  GYMNASTIC  TEACHING 

Climb  to  first  or  second  rung :  grasp  arm  bend  standing  arm  stretching  with 

knee  bending. 

Jump  to  sitting  position  in  lowest  space:  pass  through. 
Grasp  standing  position  on  one  foot :  arm  stretching  with  knee  bending. 
Oblique    zigzag    climbing,    turning    left    and    right-  alternately.      Return    in 

similar  manner,  feet  first. 

[On  the  tall  and  narrow  ladder  two  pupils  (facing  in  opposite  directions), 
on  the  low  and  wide  ladder  four  or  five  pupils  (facing  in  the  same  direc- 
tion), may  do  the  exercise  at  the  same  time,  sitting  in  contiguous  spaces.] 

Vertical  climbing,  turning  left  and  right,  pass  through,  then  "over  the  top" 

and  return,  turning  left  and  right  (on  wide  ladder). 
Vertical  climbing,  turning  left  and  right   (on  tall  ladder). 
Horizontal  "serpentine"  climbing,  turning  left  and  right  (on  wide  ladder). 
Oblique  zigzag  climbing,  turning  left  and  right.     Return  head  first   (on  wide 

ladder). 

Rope  Ladders. 

(At  first,  ladders  may  be  fastened  to  the  floor,  or  held  by  two  pupils,  later 
they  should  swing  free  while  pupils  are  climbing.) 

Climbing  with  hands  and  feet,  one  rung  at  a  time,  first  left  hand  and  right 
foot  leading,  then  right  hand  and  left  foot. 

Climbing  with  hands  and  feet,  each  hand  and  foot  skipping  one  rung.  (Op- 
posite hand  and  foot  move  together.  Body  close  to  ladders,  knees  and 
elbows  well  sideways.) 

Grasping  one  ladder  with  each  hand  as  high  as  possible,  start  swing,  dis- 
mount on  backward,  then  on  forward  swing. 

Start  swing,  spring  to  bent  arm  hanging  position,  dismount  on  backward  and 
forward  swing. 

Climbing  :  two  pupils  on  each  ladder,  turning  toes  in. 

Start  swing,  spring  to  bent  arm  hanging  position,  raise  legs  and  dismount 
immediately  (swing  jump). 

Inverted   hanging   position   without  and  with   swing,   using   two   ladders. 

Backward  circle  between  two  ladders. 

Vaulting  Box. 

Free  front  rest    (with  assistance). 

Mount  to  kneeling  position,  step  up  to  standing  position,  dismount  forward. 

Mount  to  kneeling  position,  step  on  box  with  left   foot  and  vault  left  with 

90°   right  turn.     Same  on  other  side. 
Mount  to  front  leaning  rest ;  swing  one  leg  up  and  spring  from  other  foot : 

face  dismount  left  and  right. 

Low  face  vault  left  and  right,  touching  with  one  foot. 
Vault  to  kneeling  position,  dismount  forward. 
Face  vault  left  and  right    (clear). 
Knee  vault. 
Low   side   vault    left   and   right,    stepping   on   box    with    left    and    right    foot 

respectively. 

Side  vault  left  and  right   (clear). 
Oblique  vault   from  left  and  right  foot. 
Squat  mount  to  standing  position,  dismount    forward. 
Half   squat   half   straddle  mount   left   and   right    (over  ends  of   box),   rising 

dismount. 

Back  vault  left  and  right. 
Squat   mount    Cto  momentary  position   with   bent   knees),   rising  dismount. 


APPENDIX  305 

Half  squat  half  straddle  vault  left  and  right  (over  ends  of  box). 

Squat  vault. 

Side  vault  left  and  right  with  90°  turn  right  and  left  respectively. 

Vault  to  kneeling  position,  spring  up  to  standing  position,  ordinary  or  rising 

dismount. 

Face  vault  left  and  right  with  90°-180°  right  and  left  turn  respectively. 
Back  vault  left  and  right  with  90°-180°  left  and  fight  turn  respectively. 

Side  Horse  (with  Pommels). 

Front  rest,  dismount  backward. 

Free  front  rest  (with  assistance). 

Mount  to  kneeling  position,  step  with  left  foot  and  vault  left  with  90°  turn 

to  right.     Same  on  other  side. 
Preparation  for  side  vault:  spring  (from  both  feet)   and  swing  legs  to  left 

and  right. 

Mount  to  kneeling  position,  step  up  to  standing  position,  dismount  forward. 
Side  vault  left,  stepping  with  left  foot  on  end  of  horse.     Same  on  other  side. 
Mount  to  kneeling  position,  dismount  forward. 
Side  vault  left  and  right. 

Half  squat  half  straddle  mount,  rising  dismount  (over  ends  of  horse). 
Low  side  vault  left  and  right  over  ends. 
Half  knee  half  straddle  vault  left  and  right  over  ends. 
Squat  mount,  dismount  forward. 

Half  squat  half  straddle  vault  left  and  right  over  ends. 
Knee  vault. 

Low  face  vault  left  and  right  over  ends. 
Squat  vault. 
Face  vault  left  and  right  (hands  either  on  pommels  or  preferably  on  ends  of 

horse,  body  clearing  the  pommels  in  the  vault). 
Back  vault  left  and  right. 

Side  vault  left  and  right  with  90°-180°  turn  right  and  left  respectively. 
Face  vault  left  and  right  with  90°-180°  turn  right  and  left  respectively. 
Back  vault  left  and  right  with  90°-180°  turn  left  and  right  respectively. 
Squat  vault  with  90°  turn  left  and  right. 
Straddle  mount,  ordinary  or  rising  dismount  forward. 
Straddle  vault. 

Long  Horse. 

Oblique  vault  from  left  and  right  foot. 

Oblique  vault  from  left  and  right  foot,  with  90°   inside  turn   (facing  horse, 

with  both  hands  on  it,  in  the  landing). 

Mount  to  riding  position,  face  (vault)   dismount  left  and  right. 
Mount  to  riding  position,  back  (vault)   dismount  left  and  right. 
Mount  to  oblique  back  rest,  dismount  sideways. 
Back  vault  left  and  right. 
Oblique  vault  from  left  and  right   foot  with  180°   inside  turn   (facing  near 

end  of  horse  and  keeping  one  hand  on  horse  in  the  landing). 
Back  vault  left  and  right  with  90° -180°  inside  turn. 

Buck. 

Free  front  rest.     Same  with  leg  flinging  sideways. 

Preparation  for  side  vault :  spring,  swing  legs  left  and  right. 

Straddle  vault. 

Half  knee  half  straddle  vault  left  and  right   (with  assistance  at  first). 

Straddle  vault  for  height. 


306  GYMNASTIC  TEACHING 

Mount  to  kneeling  position,  step  up  to  standing  position,  dismount  forward. 

Low  side  vault  left  and  right. 

Half  squat  half  straddle  mount  left  and  right,  dismount  immediately  with  a 

moderate  spring  from  supporting  foot. 
Mount  to  kneeling  position,  dismount  forward. 
Knee  vault. 

Low  face  vault  left  and  right. 
Straddle  vault  for  distance  on  far  side. 
Half  squat  half  straddle  vault  left  and  right. 
Back  vault  left  and  right. 

Squat  mount,  dismount  forward   (try  rising  dismount). 
Straddle  vault  with  90°-180°  turn  left  and  right. 
Squat  vault.     One  hand  straddle  vault. 
Side  straddle  vault  left  and  right. 
Rear  straddle  vault,  turning  left  and  right. 

Parallel  Bars. 
Suspension   exercises,   mounts,  vaults,   etc, 

Heel-support  hanging  position :  arm  bending. 

Heel-support  hanging  position:  hand  traveling  backward  between  bars  (feet 
on  floor). 

Heel-support  hanging  position :  bent  arm  hand  traveling  forward  between 
bars  (feet  on  floor). 

From  side  of  bars  :  run,  mount  to  side  sitting  position  left  and  right,  side 
dismount. 

From  end  of  bars  :  run,  spring,  grasping  ends  of  bars,  swing  forward,  then 
backward  and  dismount. 

Run,  mount  to  riding  rest  (hips  and  knees  flexed  at  first,  later  extended), 
swing  backward  between  bars  and  dismount. 

Run,  mount  to  riding  rest,  raise  right  leg  forward  and  dismount  over  left 
bar  with  180°  left  turn  (keeping  left  hand  on  bar).  Same  on  other  side. 

From  side  of  bars  :  run,  mount  to  left  side  sitting  position,  turn  90°  right  to 
momentary  back  rest  and  dismount  forward.  Same  on  other  side. 

Run,  mount  to  left  side  sitting  position,  turn  90°  left  to  front  rest,  hands  on 
other  bar,  dismount  backward.  Same  on  other  side. 

Run,  mount  to  left  side  sitting  position,  turn  90°  left  to  front  rest,  hands  on 
other  bar,  swing  right  leg  between  bars ;  on  return  swing  dismount 
backward  with  90°  right  turn.  Same  on  other  side. 

From  end  of  bars:  run,  spring  and  swing  (straight)  arms  inside  ends  of 
bars  (grasping  some  distance  in  on  bars)  swing  forward  to  cross  riding 
(rest)  position,  swing  one  leg  forward  with  90°  turn  to  opposite  side 
to  momentary  back  rest  on  one  bar  (both  hands  on  this  bar)  and  dis- 
mount forward.  Same  on  other  side. 

Run,  spring,  etc.,  swing  forward  and  mount  at  once  to  back  rest  on  one  bar  ; 
dismount  forward.  Same  on  other  side. 

Run,  etc.,  back  vault  left  and  right. 

Run,  mount  to  oblique  back  rest  on  one  bar  (one  hand  on  each  bar)  ;  dis- 
mount sideways.  Same  on  other  side. 

Run,  mount  to  oblique  back  rest  on  left  bar,  135°  right  turn  to  front  rest, 
dismount  backward.  Same  on  other  side. 

Run,  mount  to  riding  position,  face    (vault)   dismount  left  and  right. 

Run,  back  vault  left  and  right  with  90°-180°  outside  turn. 

Run,  mount  to  riding  position,  back  (vault)  dismount  left  and  right. 

Run,  back  vault  left  and  right  with  90°-1<SO°  inside  turn. 

Run,  mount  to  back  rest  on  one  bar,  drop  back,  raise  legs  and  roll  over 
backward  to  standing  position  at  side  of  bars  (with  assistance). 


APPENDIX  307 

High  Jumps. 

Running  "straight"  jump  from  left  and  right  foot,  land  facing  forward. 

Running  jump  from  both  feet,  land  facing   forward. 

Running  jump  from  left  foot,  land  with  90°  left  turn. 

Running  jump  from  right  foot,  land  with  90°  right  turn. 

Running  jump  from  both  feet,  land  with  90°  left  and  right  turn. 

Running  jump  from  left  foot,  land  with  90°  right  turn. 

Running  jump  from  right  foot,  land  with  90°  left  turn. 

Running  jump  from  both  feet  with  side-flinging  of  arms. 

Running  jump  from  left  foot,  land  with  180°  left  turn. 

Running  jump  from  right  foot,  land  with  180°  right  turn. 

Running  jump  from  both  feet,  land  with  180°  left  and  right  turn. 

Running   jump    from   left    foot,   land   on   right    foot   and   keep   on   running 

(hurdle).     Same  on  other  side. 

Similar  jumps  using  springboard,  or  inclined  plane  placed  on  low  boom. 
Standing  high  jump  forward. 

Standing  high  jump  left  and  right  (side  to  the  bar  or  rope). 
Running  oblique  jump  from  one  foot,  landing  on  the  other  (for  height). 
"Straight"   running  high   jump    (for  height). 


Standing  hop  from  left  and  right  foot. 
Standing  step  from  left  and  right  foot. 
Standing  jump  from  left  and  right  foot. 
Standing  broad  jump. 

Standing  two  hops  from  left  and  right  foot. 
Standing  two  steps  from  left  and  right  foot. 
Standing  hop,  step  from  left  and  right  foot. 
Standing  step,  hop  from  left  and  right  foot. 
Standing  hop,  jump  from  left  and  right  foot. 
Standing  step,  jump  from  left  and  right  foot. 
Two  standing  broad  jumps. 
Standing  hop,  step  and  jump. 
Three  standing  broad  jumps. 

Tumbling. 

Forward  roll ;  backward  roll ;  head  stand,  roll  over   forward ;   hand  stand 

(with  assistance). 
Running  dive  from  one  foot,  from  both  feet;  cart  wheel  left  and  right; 

hand  spring  over  mat-roll. 
Hand  spring   (with  assistance  and  without). 

(2)     APPARATUS  WORK  FOR  MEN. 

Horizontal  Ladder. 

(All  exercises  on  this  apparatus  are  done  with  straight  arms  when  not 
otherwise   specified.) 

Travel  forward,  hands  on  outside  of  ladder. 

Travel  backward,  hands  on  outside  of  ladder. 

Travel  forward,  on  rungs,  one  at  a  time,  first  left  hand  leading,  then  right 

hand. 
Travel  backward,  on  rungs,  one  at  a  time,  first  left  hand  leading,  then  right 

hand. 


308  GYMNASTIC  TEACHING 

Travel  sideways  on  outside,  left  hand  leading,  then  right  hand. 

Hanging  position :  alternate  knee  upward  bending. 

Hanging  position  :  arm  bending  two  or  three  times. 

Short  jumps  forward,  hands  on  outside. 

Short  jumps  backward,  hands  on  outside. 

Rotary  traveling  forward,  on  rungs,  skipping  one  (swing  and  half  turn  each 

step). 

Travel  forward,  on  rungs,  skipping  one  (without  swing  or  turn). 
Travel   sideways,   on   outside,   with   swing   and   alternate   arm   bending,    left 

leading,  then  right. 

Hanging  position  :  knee  upward  bending. 
Hanging  position  :  arm  bending  three  or  four  times. 
Travel  forward,  with  bent  arms,  hands  on  outside. 
Travel  backward,  with  bent  arms,  hands  on  outside. 
Rotary  traveling  backward  on  rungs,  skipping  one  (with  swing  and  half  turn 

each  step). 

Travel  backward  on  rungs,  skipping  one  (without  swing  or  turn). 
Travel  sideways  on  rungs,  left  leading  (without  swing  or  turn). 
Travel  sideways  on  rungs,  right  leading  (without  swing  or  turn). 
Travel  forward  on  rungs,  one  at  a  time,  bent  arms. 
Jump   forward   from   end   of   ladder,   shoot    forward   and   dismount    (swing 

jump). 

Hanging  position  :  alternate  knee  upward  bending  and  stretching  forward. 
Short  jumps  forward,  bent  arms,  hands  oh  outside. 
Short  jumps  backward,  bent  arms,  hands  on  outside. 
Travel  forward,  left  knee  up,  hands  on  outside. 
Travel  backward,  right  knee  up,  hands  on  outside. 
Travel  backward  on  rungs,  one  at  a  time,  bent  arms. 
Rotary  traveling  forward  on  rungs,  skipping  two  (with  swing  and  half  turn 

each  step). 

Travel  sideways,  on  outside,  bent  arms,  left  leading,  then  right. 
Hanging  position  :  knee  upward  bending  with  alternate  twisting. 
Jump  forward  from  end  of  ladder,  shoot  forward,  catch  and  dismount. 
Jump  forward  on  rungs,  one  at  a  time. 
Jump  backward  on  rungs,  one  at  a  time. 

Travel  forward,  hands  on  outside,  arms  bent,  right  leg  raised. 
Travel  backward,  hands  on  outside,  arms  bent,  left  leg  raised. 
Short  jumps  sideways,  hands  on  outside,  left  leading,  then  right. 
Travel  sideways  on  rungs,  bent  arms,  left  leading,  then  right. 
Jump  forward,  shoot  forward,  catch  and  dismount  with  quarter  left  and  right 

turn. 

Jump  forward,  hands  alternating!}-  on  rungs  and  on  outside. 
Jump  backward,  hands  alternating!}'  on  rungs  and  on  outside. 
Travel    forward,  bent   arms,  hands  on  outside,   with  alternate   knee  upward 

bending. 

Travel  backward,  bent  arms,  hands  on  outside,  with  knees  drawn  up. 
Short  jumps  sideways,  bent  arms,  hands  on  outside,  left  leading,  then  right. 
Travel   sideways  on   rungs,  hands  double   distance   apart,   left    leading,   then 

right. 
Start  swing,  jump  backward,  catch  and  dismount 

Suspended  Parallels. 

(All  exercises  on  this  apparatus  are  done  with  straight  arms  when  not 
otherwise  specified.) 

Travel   forward,  one  hand  on  each  bar. 
Travel  backward,  one  hand  on  eacli  bar. 


APPENDIX  309 

Travel  sideways,  on  one  bar,  with  swing  from  waist,  left  leading,  then  right. 

Hanging  position:  alternate  knee. upward  bending. 

Hanging  position  :  arm  bending  two  or  three  times. 

Travel  sideways,  on  one  bar,  without  swing,  left  leading,  then  right. 

Short  jumps  forward,  one  hand  on  each  bar. 

Short  jumps  backward,  one  hand  on  each  bar. 

Travel  sideways,  on  one  bar,  with  alternate  arm  bending,  left  leading,  then 

right. 
Jump   forward,   between   bars,   hands   outside,   pull   up,   shoot    forward   and 

dismount   (swing  jump). 
Hanging  position :  knee  upward  bending. 
Hanging  position :  arm  bending  three  or  four  times. 
Travel  forward,  bent  arms,  one  hand  on  each  bar. 
Travel  backward,  bent  arms,  one  hand  on  each  bar. 
Rotary  traveling  forward,  on  one  bar   (one  hand  inside,  the  other  outside, 

with  swing  and  half  turn  each  step). 
Rotary  traveling  backward,  on  one  bar  (one  hand  inside,  the  other  outside, 

with  swing  and  half  turn  each  step). 

Travel  sideways,  on  one  bar,  bent  arms,  left  leading,  then  right. 
Jump  forward,  between  bars,  shoot  forward,  catch  and  dismount. 
Hanging  position :  alternate  knee  upward  bending  and  stretching. 
Hanging  position  :  arm  bending  four  or  five  times. 
Short  jumps  forward,  bent  arms,  one  hand  on  each  bar. 
Short  jumps  backward,  bent  arms,  one  hand  on  each  bar. 
Travel  forward,  left  knee  up,  one  hand  on  each  bar. 
Travel  backward,  right  knee  up,  one  hand  on  each  bar. 
Rotary  traveling  on  one  bar,  turning  left  180°   (both  hands  same  grasp). 
Rotary  traveling  on  one  bar,  turning  right  180°   (both  hands  same  grasp). 
Jump,  start  swing,  dismount  on  next  backward  swing,  hands  outside  or  inside. 
Hanging  position :  knee  upward  bending  with  alternate  twisting. 
At  ends  of  bars :  pull  up,  with  knees  bent,  to  inverted  hanging  position. 
Travel  forward  on  one  bar,  bent  arms,  head  on  left  side,  then  on  right  side. 
Short  jumps  sideways  on  one  bar  (straight  arms),  left  leading,  then  right. 
Travel  forward,  one  hand  on  each  bar,  bent  arms,  right  leg  raised. 
Travel  backward,  one  hand  on  each  bar,  bent  arms,  left  leg  raised. 
Rotary   traveling   forward  on   left   and    right   bars   alternatingly,    combined 

grasp. 
Jump    forward   between   bars,    shoot    forward,    catch    and    dismount   with 

quarter  left  and  right  turn. 

At  ends  of  bars :  pull  up,  with  straight  knees,  to  inverted  hanging  position. 
1  ravel  backward  on  one  bar,  bent  arms,  head  on  left  side,  then  on  right  side. 
Travel  forward  on  both  bars,  bent  arms  with  alternate  knee  upward  bending. 
Travel  backward  on  both  bars,  bent  arms,  with  knees  drawn  up. 
Short  jumps  sideways,  on  one  bar,  bent  arms,  left  leading,  then  right. 
Rotary  traveling  backward  on  left  and  right   bars  alternatingly,   combined 

grasp. 
Jump,  start  swing,  jump  backward,  catch  and  dismount  with  quarter  left 

and  right  turn. 
At  ends  of  bars:  pull  up  to  inverted  hanging  position;  half  circle  backward 

to  floor  (body  straight). 

Travel   forward,  bent  arms,  with  alternate   leg  raising. 
Travel  backward,  bent  arms,  with  legs  raised. 
Long  underswing,  on   return   swing  mount   to   upper   arm   hanging   position 

(hands  inside). 

Rotary  traveling  on  one  bar  bent  arms,  turning  left  180°  at  each  step. 
Rotary  traveling  on  one  bar  bent  arms,  turning  right  180°  at  each  step. 
Long  swinging  jumps  forward. 


310  GYMNASTIC  TEACHING 

At  ends  of  bars :  pull  up,  raise  legs,  cut  left  hand,  then  right. 

At  ends  of  bars:  pull  up,  raise  legs,  cut  both  hands  (assistance). 

Reverse  grasp  on  one  bar,  jump  across  forward  to  other  bar,  with  over- 
grasp,  half  left  turn,  reverse  grasp.  Repeat. 

As  preceding,  but  starting  with  overgrasp  and  jumping  backward  to  reverse 
grasp  on  other  bar. 

Vertical  Ropes. 

Standing  position  between  ropes,  grasp  at  height  of  chin:  arm  stretching 
and  bending  with  knee  bending  and  stretching,  six  to  eight  times.  Repeat, 
leaving  the  floor  each  time  (combined  jump  and  pull-up). 

Jump,  grasp  rope  with  hands  and  feet,  left  leg  in  front.  Repeat  with  right 
leg  in  front,  (Climbing  position:  arms  straight,  hips  and  knees  bent.) 

Heel-support  hanging  position  :  arm  bending  six  to  eight  times. 

Half  backward  circle  of  body  between  two  ropes,  to  inverted  hanging  posi- 
tion. 

Climbing  position :  arm  bending  and  stretching. 

Starting  six  to  eight  feet  behind  the  vertical :  run,  spring  from  one  foot  (just 
before  ropes  pass  the  vertical),  grasp  as  high  as  possible  with  bent 
arms.  Dismount  immediately,  or  on  next  backward  or  forward  swing. 

Climbing  on  one  rope,  with  hands  and  feet. 

Hanging  position  on  two  ropes  :  arm  bending  three  times. 

Hanging  position  on  two  ropes,  arms  bent :  alternate  knee  upward  bending. 

Backward  circle  of  body  between  two  ropes,  to  floor  (quick  movement,  body 
straight). 

Start  five  to  eight  feet  behind  the  vertical :  swing  jump. 

Climbing  on  two  ropes,  with  hands  and  feet. 

Hanging  position  on  two  ropes,  arms  straight :  alternate  knee  upward  bend- 
ing and  stretching  forward. 

Toe-support  hanging  position :  arm  bending. 

Horizontal    (or  oblique)   climbing  from  rope  to  rope,  with  hands  and  feet. 

.Hanging  position  on  two  ropes,  bent  arms  :  alternate  arm  stretching  sideways. 

Hanging  position  on  two  ropes,  straight  arms  :  knee  upward  bending  and 
stretching  forward. 

Vertical  climbing  on  one  rope,  with  hands  only. 

Inverted  hanging  position  on  one  rope  (grasps  with  hands  and  legs  as  in 
climbing  position). 

Climb  up,  retain  position  on  rope  without  use  of  hands. 

Vertical  climbing  on  two  ropes  with  hands  only. 

Swing  backwatd,  then  forward,  with  backward  circle  to  floor. 

Plic/Ji  Horizontal  Bar. 

Jump  from  behind  bar:  short  underswing  (swing  jump). 

Jump,  start  swing,  dismount  on  first  backward  swing. 

Hanging  position  :  arm  bending  two  or  three  times. 

Hanging  position:  alternate  knee  upward  bending  ten  to  twelve  times. 

Jump,  start  swing,  dismount  on  next  forward  swing. 

Hanging  position,  pull  up,  throw  head  back,   raise   insteps  to   bar   between 

hands,  knees  bent. 

Hanging  position  :  change  from  wide  to  narrow  grasp  three  times. 
Jump,  short  underswing  for  distance. 
Jump,  start  swing,  dismount  on  first  backward  swing  with  quarter  left  and 

right  turn. 
Hanging  position  :  knee  upward  bending,  stretching  and  slow  sinking. 


APPENDIX  311 

Hanging  position :  pull  up,  raise  insteps  to  bar  outside  hands ;  knees  straight. 
Jump,  start  swing,  dismount  on  next  forward  swing  with  quarter  left  and 

right  turn. 

Hanging  position :  pass  feet  between  hands  to  inverted  hanging  position. 
Hang  with  reverse  grasp,  start  swing,  dismount  on  first  backward  swing. 
Short  underswing  with  quarter  left  and  right  turn. 
"Hang,  start  swing,  dismount  on  first  backward  swing  with  half  left  and  right 

turn. 

Hang  with  reverse  grasp;  change  to  overgrasp.     Repeat  twice. 
Hang,  pull  up,  hook  left  knee  over  bar,  then  right  knee. 
Hang,  start  swing,  dismount  on  next  forward  swing  with  half  left  and  right 

turn. 
Jump  from  behind  or  directly  under  bar,  backward  circle  to   front  rest. 

Return  by  forward  circle. 

Hang  with  reverse  grasp,  start  swing,  dismount  on  next  forward  swing. 
Running  start :  short  underswing  for  height  and  distance. 
Hang,  pull  up,  shoot  forward  and  dismount. 
Hanging  position :  leg  raising  and  parting. 
Hang  with  left  overgrasp,  right  reverse  grasp;  start  swing,  dismount  on  first 

backward  swing. 
Hang  with  right  overgrasp,   left   reverse  grasp ;   start   swing,   dismount  on 

first  backward  swing. 
Hang,  hook  left  knee  over  bar,  swing  right  leg  backward,  dismount  forward 

on  return  swing.     Same  on  other  side. 

Hang,  backward  circle  to  front  rest,  straight  knees.     Dismount  backward. 
Running  start :  short  underswing  with  quarter  left  and  right  turn. 
Hang,  start  swing;  on  first  backward  swing  reverse  grasp  with  left  hand, 

dismount  on  next  forward  swing.     Repeat,  reversing  grasp  with  right 

hand. 
Hang,  pull  up,  pass  feet  between  hands  to  inverted  hanging  position;  half 

backward  circle  to  floor  (keeping  body  straight). 
Hang,  start  swing,  clap  hands  on  first  backward  swing,  dismount  on  next 

forward  swing. 
Hang,  hook  left  knee  over  bar  outside  hand,  swing  up  to  riding  rest,  half  left 

circle  left  leg  to  front  rest ;  forward  circle  to  floor.     Same  on  other  side. 
Hang  with  combined  grasp ;  change  grasp  three  times. 
Hang,  pass  feet  outside  hands  to  knee  hanging  position,  swing  and  dismount 

by  half  backward  circle  to  floor  (with  assistance). 
"Rumting  start:  short  underswing  with  half  left  and  right  turn. 
Hang  with  reverse  grasp,  start  swing ;  on  first  backward  swing  change  to 

overgrasp,  dismount  on  next  forward  swing. 
Hang,  hook  left  knee  over  bar  outside  hand,  swing  up  to  riding  rest,  drop 

back,  on  next  backward  swing  hook  right  knee  and  dismount  by  half 

backward  circle  to  floor.     Same  on  other  side. 
Hang,  pass  feet  between  hands  to  inverted  hanging  position,  pull  up  to  back 

rest,  dismount  forward. 
Hang,  hook  left  knee  between  hands,  swing  up  to  riding  rest.     Drop  back 

and  dismount  with  short  underswing.     Same  on  other  side. 
Hang,  circle  bar  to  front  rest ;  dismount  by  short  underswing. 
Hang,   start   swing,  on   next    forward   swing  arch   back,   dismount   on   next 

backward  swing. 
Hang,  pass  feet  between  hands,  quick  backward  half  circle  to  floor   (shoot 

for  distance). 
Hang,  raise  toes  to  bar ;  then  quickly  straighten  out  and  press  down  with 

(straight)  arms.     Repeat  with  swing  (the  "kip"). 
Start  swing ;  on  next  forward  swing  reverse  grasp  of  left  hand ;  dismount  on 

next  backward  swing  with  half  right  turn.     Same  on  other  side. 


312  GYMNASTIC  TEACHING 

Start  swing;  left  knee  upstart,  outside  hand,  to  riding  rest:  half  left  circle 

right  leg  to  back  rest ;  backward  circle  to  floor.     Same  on  other  side. 
Hang,  hook  left  knee  between  hands,  swing  up  to  riding  rest ;   drop  back 

witli  left  heel  to  bar,  knee  straight;  pass  right   foot  between  hands,  on 

return  swing  shoot  over  bar  to  floor.     Same  on  other  side. 
Backward  circle  to  front  rest ;  long  underswing  with  back  arched,  raise  legs 

and  "kip"  to  front  rest ;  forward  circle  to  floor. 
Easy  swing,  pass  feet  between  hands  to  momentary  inverted  position,  quick 

pull-up  to  back  rest;  half  left  turn  and  dismount  with  short  underswing. 

Repeat,  turning  right  from  back  rest. 
With  left  overgrasp,  right  reverse  grasp  start  swing,  on  next  forward  swing 

half  left  turn,  dismount  on  next  forward  swing.     Same  on  other  side. 
Swing,  left  knee  upstart,  between  hands,  to  riding  rest ;  backward  left  knee 

circle ;  drop  back  and  dismount  with  short  underswing.     Same  on  other 

side. 
Backward  circle  to  front  rest;  half  left  and  right  circle  of  both   legs  to 

floor. 

t   swing ;   on   next    forward   swing   hook  both   knees   outside   hands,   on 

return   swing  straighten  body  with  arms  overhead  and   half   backward 

circle  to  floor. 

Jump  from  behind  bar,  backward  circle  over  bar  to  floor. 
Start  swing;  on  next  forward  swing  half  left  turn;  dismount  on  next   for- 
ward swing.     Same  with  half  right  turn  at  end  of  forward  swing. 
Swing,    left    knee    upstart,    between    hands,    to    riding    rest;    reverse    grasp, 

forward  knee  circle;  half  left  circle  of  right  leg  to  back  rest;  dismount 

forward.     Same  on  other  side. 
Backward  circle  to  front  rest;  half  right  circle  of  left  leg,  half  left  circle 

of  right  leg  to  back  rest ;  half  left  turn  and  dismount  with  short  under- 
swing.    Same  on  other  side. 
Left   knee   upstart,  outside   hand,   to   front    rest ;    backward   circle   to    front 

rest ;  dismount  backward.     Same  on  other  side. 
With   left   reverse   grasp,   right   overgrasp,   start   swing,   on   next   backward 

swing  half  right  turn,  dismount  on  next  backward  swing.     Same  with 

left  and  right  reversed. 
Swing,  left  knee  upstart,  between  hands,  half  left  circle  of  right  leg  with 

half  left  turn  and  short  underswing  dismount.     Same  on  other  side. 
Start  swing;  on  next  swing  hook  both  knees  outside  hands,  upstart  to  back 

rest ;  backward  circle  to  floor. 
Backward  circle  to  front  rest;  half  left  or  right  circle  of  both  legs  to  back 

rest,  drop  back  with  heels  to  bar ;  on  return  swing  shoot  over  bar  to 

floor. 

Swing,  pass  feet  between  hands  to  back  rest ;  dismount  forward. 
Backward  circle  to  front  rest ;  free  backward  circle  to  floor. 
Jump  from  behind  bar,  arch  strongly,  upstart  to   front  rest,  with  bent  arms 

("breast  up"). 
Reverse  grasp,  start  swing,  on  next  backward  swing  half  left  turn,  dismount 

on  next  backward  swing.     Same  with  half  right  turn  at  end  of  backward 

swing. 
Left  knee  upstart,  outside  hand,  half  left  circle  of  right  leg;  backward  knee 

circle  (hock  swing)  to  floor.     Same  on  other  side. 
From  behind  bar,  free  backward  circle  to  floor. 
Left   knee   upstart,  between   hands,   half   left   circle   right    leg  to  back   rest; 

reverse  grasp,  heels  to  liar,  forward  circle  to  sitting  position,  half  left 

turn,   short  underswing  dismount.     Same  on   other  side. 
Backward  circle  to  front   rest;  drop  back  with  toes  to  bar,   "kip"   to    front 

rest,  dismount  backward. 
"Kip,"  and  free  backward  circle  to  floor. 


APPENDIX  313 

Start  swing,  on  next  forward  swing  half  left  turn;  on  next  forward  swing 
half  right  turn;  dismount  on  next  forward  swing. 

Reverse  grasp,  start  swing,  on  next  backward  swing  half  right  turn,  on  next 
backward  swing  half  left  turn;  dismount  on  next  backward  swing. 

Start  swing;  hook  both  knees  outside  hands,  swing  up  to  sitting  position, 
hands  between  legs,  reverse  grasp  and  forward  circle  to  floor. 

Swing,  uprise  to  free  front  rest,  short  underswing. 

Left  overgrasp,  right  reverse  grasp,  "kip"  to  front  rest,  left  face  vault  dis- 
mount. Same  on  other  side. 

Swing,  pass  feet  between  hands,  shoot  over  bar  to  back  rest ;  backward  knee 
circle  to  back  rest,  drop  back,  pass  feet  between  hands  and  dismount 
with  short  underswing. 

"Kip" ;  forward  circle  to  front  rest,  "side  vault"  left  or  right  to  floor. 

Swing,  left  knee  upstart  between  hands;  reverse  grasp  of  left  hand;  knee  and 
instep  circle ;  dismount  with  short  underswing.  Same  on  other  side. 

Swing,  uprise  to  free  front  rest,  free  backward  circle,  long  underswing,  pass 
feet  between  hands,  hook  knees,  half  backward  circle  to  floor. 

Swing,  left  knee  upstart  between  hands  to  momentary  riding  rest,  quick 
half  right  turn,  backward  right  knee  circle,  drop  back,  pass  right  foot 
between  hands  and  dismount.  Same  on  other  side. 

Start  swing;  on  next  forward  swing  pass  feet  between  hands,  half  back- 
ward circle  to  back  rest  (back  upstart). 


Low  Horizontal  Bar. 

Free  front  rest. 

Preparation  for  side  (flank)  vault:  swing  legs  left  and  right  twice. 

Preparation  for -squat  vault  and  straddle  vault  (toes  to  bar  inside  and  out- 
side of  hands). 

Reverse  grasp :  circle  forward  to  sitting  position  on  floor  ;  swing  up  to  stand- 
ing position  on  far  side  of  bar. 

Short  underswing,  from  left  and  right  foot. 

Front  rest;  dismount  backward  (with  quarter  left  and  right  turn). 

Low  side  (flank)  vault  left,  touching  bar  with  left  foot,  and  landing  with 
quarter  right  turn.  Same  on  other  side. 

Squat  mount ;  dismount  forward. 

Front  rest ;  slow  circle  forward  to  heel-support  hanging  position ;  swing  up 
to  standing  position. 

Short  underswing  (from  both  feet). 

Mount  to  back  rest,  turning  left,  then  right.  Dismount  forward  without 
and  with  turns. 

Low  side  vault  left  and  right. 

With  left  overgrasp,  right  reverse  grasp,  (low)   face  vault  left. 

With  right  overgrasp,  left  reverse  grasp,  (low)   face  vault  right. 

From  left  foot :  backward  circle  over  bar  to  front  rest ;  dismount  backward. 

From  right  foot :  backward  circle  over  bar  to  front  rest ;  dismount  backward. 

Back  rest  by  left  and  right  turn ;  roll  over  backward  to  standing  position  on 
near  side  of  bar. 

Short  underswing  from  full  reach  behind  bar. 

Side  (flank)  vault  left  with  quarter  right  turn. 

Side  (flank)  vault  right  with  quarter  left  turn. 

Back  vault  left  and  right. 

Backward  circle  to  front  rest ;  return  by  forward  circle. 

Jump,  catch  bar,  short  underswing. 

Front  rest :  short  underswing. 

With  left  side  to  the  bar  :  oblique  vault  from  right  foot. 

With  right  side  to  the  bar:  oblique  vault  from  left  foot. 


314  GYMNASTIC  TEACHING 

Fence  vault,  left  or  right. 
Squat  vault.     \ 

Half  squat  hall  straddle  mount  left  and  right. 

~~Half  left  and  right  circle  of  hoth  legs  to  back  rest;  dismount  forward. 
Jump,  hook  left  knee  outside  hand,  drop  back,  swing  up,  half  left  circle  left 

leg  to  floor.     Same  on  other  side. 

Jump,  catch  bar,  short  underswing  with  quarter  left  and  right  turn. 
Side  vault  left  with  quarter  left  turn. 
Side  vault  right  with  quarter  right  turn. 
Straddle  vault. 
Half  right  circle  left  leg,  half  left  circle  right  leg  to  back  rest;  (with  hands 

on  bar)  backward  knee  circle  to  floor. 

Front  rest :  backward  circle  to  front  rest ;  dismount  with  short  underswing. 
Hang  with  heels  on  bar,  between  hands ;   swing  and  shoot  up  over  bar  to 

floor. 
Half  right  circle  left  leg,  half  left  circle  right  leg  to  back  rest;  drop  back 

with  heels  to  bar,  on  return  swing  shoot  up  to  back  rest ;  dismount  for- 
ward. 

Fence  vault,  left  or  right,  for  height. 
Squat  vault  with  quarter  left  and  right  turn. 
Combined  grasp  ;   face  vault  left  with  quarter  right  turn. 
Combined  grasp ;  face  vault  right  with  quarter  left  turn. 
Jump,  hook  left  knee  between  hands,  drop  back,  swing  up,  half  left  circle  of 

right  leg  with  quarter  left  turn  of  body  to  floor.     Same  on  other  side. 
Half  left  circle  left  leg  to  riding  rest;  backward  left  knee  circle;  drop  back, 

dismount  with  short  underswing.     Same  on  other  side. 
Back  vault  left  with  quarter  left  turn. 
Back  vault  right  with  quarter  right  turn. 
Side  vault  left  with  half  right  turn. 
Side  vault  right  with  half  left  turn. 
Jump  to  back  rest ;  backward  knee  circle,  drop  back,  on  return  swing  shoot 

over  bar  to  floor. 

Free  backward  circle  to  floor  (bar  at  height  of  chest). 
Squat  vault  with  half  left  and  right  turn. 
Straddle  vault  with  quarter  left  and  right  turn. 
Standing  position  with  one  foot  raised  to  bar   (between  hands)  ;  drop  back, 

raise  other  leg,  "kip"   (or  begin  by  swinging  left  leg  up,  then  right). 
Back  vault  left  with  half  left  turn.    Same  right  with  half  right  turn. 
Straddle  vault  with  half  left  and  right  turn. 
Jump  with  insteps  to  bar  between  hands,  drop  back,  "kip." 
Backward  circle  to  front  rest;  half  right  circle  left  leg,  reverse  grasp,  for- 
ward left  knee  circle.     Same  on  other  side. 
Combined  grasp,  side  vault  left  with  half  right  turn,  quick  change  of  grasp 

with  left  hand  and  short  underswing.     Same  on  other  side. 
Jump  with  feet  to  bar,  outside  hands,  drop  back,  short  underswing. 
Run  under  bar,  "kip." 

Free  backward  circle  and  short  underswing. 
Jump,  hook  both  knees  outside   left   hand;   backward  knee   circle;   dismount 

forward.     Same  on  other  side. 
Jump  to  sitting  position,  knees  straight;  reverse  grasp,   forward  knee  circle 

to  floor. 

Front   rest:    forward  circle  to    front   rest;   dismount   backward. 
Half  U-ft  circle  of  both  legs  to  sitting  position  with  left  hand  between  legs; 

backward  knee  circle;   left  hand   outside,  drop  back,   short   underswing. 

Same  on  other  side. 
Jump  with  feet  to  bar  outside  hands,  short  underswing  with  quarter  left  and 

right  turn. 


APPENDIX  315 

Half  right  circle  left  leg  to  riding  rest,  drop  back,  pass  right  foot  between 
hands  and  shoot  up  over  bar  to  tioor.  Same  on  other  side. 

From  full  reach :  short  underswing  and  "kip." 

Grasp  bar,  drop  back,  left  knee  upstart  between  hands,  reverse  grasp  with 
left  hand;  knee-and-instep  circle  forward;  dismount  forward  with 
quarter  left  turn.  Same  on  other  side. 

Front  rest,  drop  back,  "kip,"  left  and  right  circle  of  both  legs  to  floor. 

Three  double  knee  circles  backward,  with  hands  first  outside  left  leg,  then 
outside  right  leg,  then  legs  between  hands ;  drop  back,  shoot  up  (clearing 
bar)  to  floor. 

Combined  grasp,  left  circle  right  leg  with  half  left  turn  of  body  to  sitting 
position,  hands  between  legs ;  backward  knee  circle,  then  backward  body 
circle  to  floor.  Same  with  right  circle  of  left  leg  and  half  right  turn. 

Left  overgrasp  right  reverse  grasp,  "kip,"  change  grasp  right  hand,  short 
underswing.  Repeat  with  right  and  left  reversed. 

Backward  circle  to  front  rest  drop  back,  "kip,"  to  front  rest,  half  turn  to 
back  rest,  drop  back,  pass  feet  between  hands  and  short  underswing. 

With  narrow  grasp  :  short  underswing,  raise  legs,  pass  feet  outside  hands 
and  mount  to  sitting  position,  hands  between  legs,  drop  back,  pass  feet  in 
front  of  bar  and  "kip." 

Jump  to  riding  rest,  left  leg  in  front  (and  between  hands)  :  left  backward 
knee  circle,  drop  back,  pass  right  foot  between  hands  and  mount  to  sitting 
position,  half  left  turn  to  front  rest,  forward  circle  to  front  rest;  dis- 
mount backward.  Repeat  with  right  and  left  reversed,  and  finishing 
with  free  backward  circle  and  short  underswing. 

Jump  with  feet  to  bar   (wide  apart),  grasp  and  short  underswing. 

Side  Horse  (with  Pommels). 

Squat  mount ;  dismount  forward. 

Straddle  mount ;  dismount  forward. 

Free  front  rest. 

Half  squat  half  straddle  mount  left  and  right. 

Low  side  (flank)  vault  left  over  left  end  of  horse  (right  hand  on  pommel, 
left  hand' on  horse).  Same  on  other  side. 

Mount  to  kneeling  position,  dismount   forward. 

Knee  vault. 

Squat  vault. 

Straddle  mount;  dismount  forward  with  half  left  and  right  turn. 

Squat  vault  with  quarter  left  and  right  turn. 

Half  squat  half  straddle  vault  left  and  right  over  ends. 

Low  face  vault  left  and  right  over  ends  (one  hand  on  pommel,  other  on 
horse). 

Straddle  vault. 

Side  (flank)  vault  left  and  right  over  saddle   (hands  on  pommels). 

"Half  squat  half  straddle  vault  left  and  right  over  saddle. 

Low  side  (flank)  vault  left  with  quarter  right  turn,  over  left  end.  Repeat 
with  right  and  left  reversed. 

Back  vault  left  and  right. 

Knee  vault  with  quarter  left  and  right  turn. 

Face  vault  left  and  right  over  saddle   (preferably  with  hands  on  horse). 

Jump  vault  from  left  and  right  foot. 

Half  squat  half  straddle  vault  left  with  quarter  right  turn,  over  saddle.  Re- 
peat with  right  and  left  reversed. 

Face  vault  left  to  riding  position  on  left  end.  Face  (vault)  dismount  left 
(hands  on  pommel). 

Face  vault  right  to  riding  position  on  right  end.  Face  (vault)  dismount  right 
(hands  on  pommel). 


316  GYMNASTIC  TEACHING 

Oblique  vault  from  left  foot  (right  hand  on  right  end).    Same  on  other  side. 

Half  squat  half  straddle  vault  left  with  quarter  left  turn,  over  saddle.  Same 
- _  on  other  side. 

Jump  vault  from  left  foot,  with  quarter  right  (and  left)  turn.  Repeat  with 
right  and  left  reversed. 

Hack  vault  left,  %yith  quarter  left   (inside)  turn.     Same  on  other  side. 

Side  vault  left  with  quarter  right  turn. 

Side  vault  right  with  quarter  left  turn. 

Face  vault  left  with  quarter  right  turn. 

Face  vault  right  with  quarter  left  turn. 

Half  squat  half  straddle  vault  left  with  half  right  turn,  over  neck. 

Half  squat  half  straddle  vault  right  with  half  left  turn,  over  croup. 

Oblique  vault  from  left  foot  (right  hand  on  horse)  with  quarter  left  (in- 
side) turn. 

Oblique  vault  from  right  foot  (left  hand  on  horse)  with  quarter  right  (in- 
side) turn. 

Back  vault  left  to  riding  position  on  left  end  of  horse.  Back  (vault)  dis- 
mount right. 

Back  vault  right  to  riding  position  on  right  end  of  horse.  Back  (vault)  dis- 
mount left. 

Face  vault  left  with  half  right  turn. 

Face  vault  right  with  half  left  turn. 

Half  squat  half  straddle  vault  left  with  half  right  turn,  over  saddle. 

Half  squat  half  straddle  vault  right  with  half  left  turn,  over  saddle. 

Jump  vault  from  left  foot,  with  half  right   (and  half  left)   turn. 

Jump  vault  from  right  foot,  with  half  left   (and  half  right)  turn. 

Straddle  vault  with  half  left  and  right  turn. 

Side  vault  left  with  quarter  left  turn.     Same  on  other  side. 

Left  hand  squat  mount;  dismount  with  three-quarters  left  turn.  Same  on 
other  side. 

Back  vault  left  with  half  left  (inside)  turn.     Same  on  other  side. 

Front  vault.      ("Sheep  vault."     Chest  leading,   feet   last  over  horse.) 

Pike  dive. 

Oblique  vault  from  left  foot  with  half  left  (inside)  turn.  Same  on  other 
side. 

Half  squat  half  straddle  vault  left  with  half  left  turn  over  end.  Same  on 
other  side. 

Oblique  vault  from  left  foot  with  half  right  (outside)  turn  (support  with 
right  hand  only ) . 

Oblique  vault  from  right  foot  with  half  left  (outside)  turn  (support  with 
left  hand  only). 

Left  hand  straddle  mount;  dismount  with  three-quarters  left  turn.  Same  on 
other  side. 

Front  vault  with  quarter  left  and  right  turn. 

Half  squat  half  straddle  vault  left  with  half  left  turn,  over  saddle.  Same  on 
other  side. 

One  hand  side  vault  left  and  right. 

Rear  straddle  mount,  turning  left  and  right. 

Left  and  right  hand  squat  vault. 

High  face  vault  left  and  right  (through  handstand). 

Rear  straddle  vault,  turning  left  and  right. 

Left  and  right  hand  straddle  vault. 

High  squat  vault   (through  handstand). 

One  hand  side  vault  left  with  quarter  right  turn. 

One  hand   side  vault   right   with   quarter   left   turn. 

High  straddle  vault   (through  handstand;. 

Hand  spring,  slow  and  quick. 


APPENDIX  317 

Buck. 

Free  front  rest. 
Straddle  vault. 

Half  squat  half  straddle  mount  left  and  right,  rising  dismount. 
Knee  vault. 

Low  side  (flank)  vault  left  and  right. 

Squat  mount,  dismount  forward.     Repeat  with  rising  dismount. 
Straddle  vault  for  distance  (on  far  side). 

Jump  from  left  foot  to  standing  position  on  right  foot;  dismount  forward. 
Jump  from  right  foot  to  standing  position  on  left  foot;  dismount  forward. 
Half  knee  half  straddle  vault  left  and  right. 
Straddle  vault  with  quarter  left  and  right  turn. 
Half  squat  half  straddle  vault  left  and  right. 
Squat  mount ;  rising  dismount  forward  with  side-flinging  of  arms  and  legs. 

face  vault  left  and  right. 
Straddle  vault  for  height. 
Jump  from  left  and  right  foot  to  standing  position  (on  both  feet)  ;  dismount, 

touching  toes  in  air. 
Back  vault  left  and  right. 
Straddle  vault  with  half  left  and  right  turn. 
Squat  vault. 

Half  squat  half  straddle  vault  left,  with  quarter  right  turn. 
Half  squat  half  straddle  vault  right,  with  quarter  left  turn. 
Side   (flank)   vault  left  with  quarter  right  turn. 
Side  (flank)  vault  right  with  quarter  left  turn. 
Jump  (clear)  over  buck,  from  left  and  right  foot. 
Back  vault  left  with  quarter  left  turn. 
Back  vault  right  with  quarter  right  turn. 
Squat  vault  with  quarter  left  and  right  turn. 
Half  squat  half  straddle  vault  left  with  quarter  left  turn. 
Half  squat  half  straddle  vault  right  with  quarter  right  turn. 
Oblique  vault  from  left  and  right  foot. 
Face  vault  left  with  quarter  right  turn. 
Face  vault  right  with  quarter  left  turn. 
Left  hand  straddle  vault. 
_Right  hand  straddle  vault. 

Half  squat  half  straddle  vault  left  with  half  right  turn. 
Half  squat  half  straddle  vault  right  with  half  left  turn. 
Side  vault  left  with  quarter  left  turn. 
Side  vault  right  with  quarter  right  turn. 
Back  vault  left,  with  half  left  turn. 
Back  vault  right,  with  half  right  turn. 
Oblique  vault  from  left  foot  with  quarter  left  turn. 
Oblique  vault  from  right  foot  with  quarter  right  turn. 
Vault  to  kneeling  position,  spring  to  standing  position,  dismount  forward. 
Side  straddle  vault  left  and  right   (buck  lengthwise). 
Squat  vault  with  half  left  and  right  turn. 
Left  hand  straddle  vault  with  quarter  left  turn. 
Right  hand  straddle  vault  with  quarter  right  turn. 
Jump  vault  from  left  and  right  foot. 
Face  vault  left  with  half  right  turn. 
Face  vault  right,  with  half  left  turn. 
Oblique  vault  from  left  foot  with  quarter  right  turn   (support  on  right  hand 

only). 
Oblique  vault   from  right  foot  with  quarter  left  turn    (support  on  left  hand 

only). 
Rear  straddle  vault,  turning  left  and  right. 


318  GYMNASTIC  TEACHING 

Jump  vault  from  left  foot  with  quarter  left  turn. 

Jump  vault  from  right  foot  with  quarter  right  turn. 

Straddle  vault  with  three-quarters  left  and  right  turn. 

Oblique  vault  from  left  foot  with  half  left  turn. 

Oblique  vault  from  right  foot  with  half  right  turn. 

Left  hand  straddle  vault  with  quarter  right  turn. 

Right  hand  straddle  vault  with  quarter  left  turn. 

Half  squat  half  straddle  vault  left  with  half  left  turn. 

Half  squat  half  straddle  vault  right  with  half  right  turn. 

Jump  vault  from  left  foot  with  quarter  right  turn. 

Jump  vault  from  right  foot  with  quarter  left  turn. 

Back  vault  left  with  half  left  turn. 

Back  vault  right  with  half  right  turn. 

Pike  dive. 

Oblique  vault   from  left   foot  with  half   right  turn    (support  on  right  hand 

only). 
Oblique  vault   from  right    foot  with  half   left   turn    (support   on   left   hand 

only). 

Right  hand  low  side  vault  left. 
Left  hand  low  side  vault  right. 
Jump  vault  from  left  foot  with  half  left  turn. 
Jump  vault  from  right  foot  with  half  right  turn. 
Front  vault.     ("Sheep  vault."     Body  arched;  chest  leading,  feet  last  over 

buck.) 

Left  hand  straddle  vault  with  half  left   (and  right)   turn. 
Right  hand  straddle  vault  with  half  right  (and  left)  turn. 
Side  vault  left  with  quarter  left  turn. 
Side  vault  right  with  quarter  right  turn. 
Squat  vault  with  three-quarters  left  and  right  turn. 
Rear  straddle  vault  left  with  quarter  left  turn. 
Rear  straddle  vault  right  with  quarter  right  turn. 
Front  vault  with  quarter  left  turn. 
Front  vault  with  quarter  right  turn. 
Right  hand  side  vault  left  with  quarter  right  turn. 
Left  hand  side  vault  right  with  quarter  left  turn. 
Rear  squat  vault,  turning  left  and  right. 
Cross-legged   straddle  vault,   left   leg   in   front    (hips   turned,   but   shoulders 

square  to  the  front). 
Cross-legged  straddle  vault,  right  leg  in   front    (hips  turned,  but  shoulders 

square  to  the  front). 

Rear  squat  vault  left  with  quarter  left  turn. 
Rear  squat  vault  right  with  quarter  right  turn. 
Rear  straddle  vault  left  with  half  left  turn. 
Rear  straddle  vault  right  with  half  right  turn. 
High  face  vault  left  and  right   (through  handstand). 
Straddle  vault  with  full  left  and  right  turn. 
High  squat  vault   (through  handstand). 
High  straddle  vault   (through  handstand). 
Hand  spring,  slow  or  quick. 

Parallel  Bars. 

(Unless  otherwise  specified  the  exercises  are  done  with  a  running  start, 
from  end  of  bars,  mounting  well  in  toward  middle.) 

Back  rest  on  left  bar;  dismount  forward.     Same  on  right  bar. 
Riding  position;  face   (vault)   dismount  left  and  right. 


APPENDIX  319 

Oblique  back  rest  on  left  bar;  back  (vault)   dismount  left.     Same  on  right 

bar. 
Riding  position;  swing  forward  between  bars  to  back  (vault)  dismount  left 

and  right. 

Back  vault  left  and  right. 
Back  rest  on  left  bar;  dismount  forward  with  half  left  turn.     Same  on  other 

side. 
Riding  position;  swing  backward  between  bars  to  face  (vault)  dismount  left 

and  right. 
Oblique  back  rest  on  left  bar;  back  (vault)  dismount  left  with  quarter  right 

turn. 
Oblique  back  rest  on  right  bar;  back   (vault)   dismount  right  with  quarter 

left  turn. 
Oblique  back  rest  on  left  bar ;   turn  right   to  cross   riding   position.     Face 

(vault)  dismount  left. 
Oblique  back  rest  on  right  bar;   turn   left   to  cross   riding  position.     Face 

(vault)  dismount  right. 

Travel  forward  through  riding  position  on  both  bars. 
""At  ends  of  bars :  left  circle  left  leg  to  floor,  then  right  circle  right  leg  to 

floor. 

Back  vault  left  with  quarter  right  turn. 
Back  vault  right  with  quarter  left  turn. 

Oblique  back  rest  on  left  bar;  back  (vault)  dismount  right  over  both  bars. 
Oblique  back  rest  on  right  bar;  back  (vault)  dismount  left  over  both  bars. 
Oblique  back  rest  on  left  bar ;  turn  right  to  front  rest,  hands  on  right  bar ; 

dismount  backward.     Same  on  other  side. 

Swing  forward,  then  backward,  to  face  (vault)   dismount  left  and  right. 
Travel  backward  through  riding  position  on  both  bars. 
At  ends  of  bars  :  right  circle  left  leg  over  left  bar  to  floor,  then  left  circle 

right  leg  over  right  bar  to  floor. 
Back  vault  left  with  half  right  turn. 
Back  vault  right  with  half  left  turn. 
Half  left  circle  right  leg  over  left  bar,  half  right  circle  left  leg  over  left  bar 

with   quarter   right   turn  of  body   to   front   rest.      Dismount   backward. 

Same  on  other  side. 
Three-quarters  left  circle  right  leg  over  left  bar   (cut  left  hand)   with  half 

right  circle  left  leg  to  oblique  front  rest  on  left  bar,  face  dismount  left. 

Same  on  other  side. 
Travel  forward  through  oblique  back  rest  on  left  and  right  bars  successively, 

swinging  forward  between  bars  each  time. 
At  ends  of  bars :  left  circle  of  both  legs  over  left  bar  to  floor,  then  right 

circle  of  both  legs  over  right  bar  to  floor. 
Back  vault  left  with  half  left  turn   (pivoting  on  left  hand). 
Back  vault  right  with  half  right  turn  (pivoting  on  right  hand). 
Back  rest  on  left  bar,  roll  over  backward  to  floor.     Same  on  other  bar. 
Travel  forward  through  cross-legged  riding  position  on  both  bars   ("grape- 
vine"). 
At  ends  of  bars:  left  circle  right  leg  over  left  bar  to  floor,  then  right  circle 

left  leg  over  right  bar  to  floor. 
Oblique  front  rest  on  left  bar;  swing  forward  between  bars  to  back   (vault) 

dismount  right. 
Oblique  front  rest  on  right  bar;  swing  forward  between  bars  to  back  (vault) 

dismount  left. 

Upper  arm  rest,  raise  legs,  swing  backward  and  dismount  between  bars. 
Upper  arm  rest,  raise  legs  and  mount  to  oblique  back  rest  on  left  bar;  back 

(vault)   dismount  left  with  quarter  right  turn.     Same  on  other  side. 


320  GYMNASTIC  TEACHING 

Half  left  circle  right  leg   (with  half  right  circle  left  leg)  over  left  bar  to 

face  (vault)   dismount  left   (cut  left  hand). 
Half  right  circle  left  leg  (with  half  left  circle  right  leg)  over  right  bar  to 

face  (vault)  dismount  right   (cut  right  hand). 
Upper  arm  rest,  raise  legs,  mount  to  riding  position.     Face  vault  dismount 

right  and  left. 

Face  vault  left  and  right  (without  preliminary  forward  swing). 
Swing   forward;   left  circle  right  leg  over  left  bar    (cut   left  hand),  swing 

forward  between  bars  to  back    (vault)    dismount   right   with   half   left 

turn.     Same  on  other  side. 
Riding  position,  shoulder  stand  :  roll  over  forward  to  upper  arm  rest,  swing 

backward  and  dismount  between  bars. 
Upper  arm  rest,  raise  legs,  upstart  ("kip"),  swing  backward  and  face  (vault) 

dismount  right  or  left. 
At  ends  of  bars  :  right  circle  left  leg  over  both  bars  with  simultaneous  right 

circle  right  leg  over  right  bar  to  floor.     Same  on  other  side. 
Swing    forward   and   backward    (increasing   momentum),   on   next    forward 

swing  side  vault  left  over  right  bar    (tody  straight).     Same  on  other 

side. 
Swing  forward,  left  circle  right  leg  over  left  bar   (cut  left  hand)   and  face 

(vault)   dismount  right  over  right  bar. 
Swing  forward,  right  circle  left  leg  over  right  bar  (cut  left  hand)   and  face 

(vault)  dismount  left  over  left  bar. 

Swing  forward,  then  backward  to  shoulder  stand,  half  circle  straight  side- 
ways to  floor.     Same  on  other  side. 
Half  left  circle  right  leg  over  left  bar,  half  right  circle  left  leg  over  left  bar, 

with   three-quarters   right  turn  to  back  rest.     Roll   over   backward   to 

floor.     Same  on  other  side. 
Upper   arm   rest,   raise   legs,  on   backward   swing   uprise   to   cross   rest   and 

immediate  back  (vault)  dismount  left  or  right. 
At  ends  :  right  circle  right  leg  over  both  bars  with  simultaneous  right  circle 

left  leg  over  left  bar  to  floor.     Same  on  other  side. 
Side  vault  left  and  right   (on  first  forward  swing). 

Swing  forward,  left  circle  leg  over  left  bar    (cut  left  hand),   swing   for- 
ward,  right   circle   right   leg  over   right  bar    (cut   right   hand),   swing 

forward,  back  vault  dismount  left  or  right. 
Upper  arm    rest;   start   swing,   on   second    forward   swing   half   backward 

circle  to  shoulder  stand;  half  backward  circle  to  back  (vault)  dismount 

right  or  left. 
Swing   forward,   then   backward,   then   drop  to   upper   arm   rest   and   "kip," 

immediate  face   (vault)   dismount  left  or  right. 
At   ends:    left   circle   left   leg   over    left   bar   with   simultaneous   right    circle 

right  leg  over  right  bar  to  floor  (cut  both  hands  simultaneously). 
At   ends:   right  circle   left   leg  over   left   bar   with    simultaneous   left   circle 

right  leg  over  right  bar  to  floor   (cut  both  hands  simultaneously). 
From   side  of  bars:   side  vault   left  with  quarter  right   turn  and  left  hand 

on  other  bar,   swing    forward   between  bars   and  back  vault   dismount 

left  with  half  turn.     Same  on  other  side. 
From  side  of  liars:  combined  grasp  on  near  bar,  drop  back  and  shoot  up 

between  bars  with  half  right  turn  of  body  to  cross  riding  rest,  hands  in 

front;  swing  forward  between  bars  and  backward  shoulder  roll.     Dis- 
mount  between   bars. 

From  side  of  bars:  overgrasp  on   far  bar  with  arms  under  near  bar:  back- 
ward circle  to  front  rest,  hands  on  far  liar,  dismount  backward. 
Swing  forward,  then  backward,  to  handstand;  swing  forward  to  back  vault 

dismount  right  or  left. 


APPENDIX  321 

From    far   end    of    bars:    upper   arm   rest    (facing   mid-bars);    backward 

shoulder  roll  to  floor. 
From  far  end  of  bars :  riding  position  facing  ends  :  forward  shoulder  spring 

to  floor. 

From  far  end  of  bars:  grasp  ends,  drop  back  with  legs  raised,  "kip";  dis- 
mount backward. 

From  near  end  of  bars:  back  vault  left  over  both  bars. 
From  near  end  of  bars :  back  vault  right  over  both  bars. 
Left  circle  right  leg  over  left  bar  (cut  left  hand),  left  circle  right  leg  over 

right  bar  (cut  right  hand)  and  back  (vault)   dismount  left  over  left 

bar.    Same  on  other  side. 
Mount  to  riding  rest,   facing  near  end  of  bars :  drop  to  upper  arm  rest 

with  long  underswing  between  bars,  two  backward  shoulder  rolls  to 

shoulder  stand,  "kip,"  face  (vault)   dismount  with  turn. 
Swing*  forward,   then   backward,   to  handstand ;   drop   to   shoulder   stand ; 

forward  roll  to  riding  rest  on  one  bar,  back   (vault)   dismount  over 

other  bar. 
Upper  arm  rest,  "kip,"  to  oblique  back  rest  on  left  bar ;  quarter  right  turn 

to  front  rest ;  side  vault  left  over  both  bars  to  floor.     Same  on  other 

side. 
From   far  end   of  bars    (facing   in):   underswing,   "kip,"   shoulder   stand; 

backward  shoulder  roll  to  floor. 
Upper  arm  rest:   start  swing,  on  backward   swing  half    (forward)    circle 

to  shoulder  stand,  forward  roll,  on  backward  swing  uprise  and  back 

(vault)   dismount  left   (or  right). 
Swing  forward  and  backward,  on  next  forward  swing  drop  back  with  legs 

raised,   "kip,"  on  next   forward  swing  cut  both  hands  and  back  vault 

dismount  left  (or  right). 
At  ends  of  bars:  right  circle  both  legs  over  both  bars  to  floor;  left  circle 

both  legs  over  both  bars  to  floor. 
Swing  forward,  left  circle  right  leg  over  left  bar  (cut  left  hand),  followed 

immediately  by  right  circle  left  leg  over  left  and  right  bars   (cut  first 

left,  then  right  hand),  then  left  circle  right  leg  over  right  bar  to  back 

(vault)   dismount  left.     Repeat  with  right  and  left  reversed. 
At   near  end:   right  circle   left  leg  over  left  bar   with   simultaneous   left 

circle  right  leg  over  right  bar,  swing  backward  to  shoulder  stand  and 

forward  shoulder  roll  to  riding  position ;   forward  circle  between  bars 

(resting  on   thighs)    back  to   riding   position;    forward   shoulder   roll 

(arms  straight  sideways)  over  far  end  to  floor. 
Handstand,  walk  forward,  drop  down  to  shoulder  stand,  forward  shoulder 

roll,  on  backward  swing  uprise  to  riding  position  ;  back  vault  dismount. 
Swing  forward,  then  backward,  right  circle  both  legs  over  both  bars  with 

quarter  right  turn  to  floor.     Same  on  other  side. 
Upper    arm    rest,    start    swing,    on    backward    swing    uprise    and    shoulder 

stand,   "kip"   and   shoulder   stand,   backward    shoulder   roll,   ''kip"   and 

face  dismount  right  or  left. 

High  Jumps. 

(Height  of  bar  about  three  feet.) 

Run,  jump  from  left  foot,  land  facing  forward. 
Run,  jump  from  right  foot,  land  facing  forward. 
Run,  jump  from  left  foot,  land  with  quarter  left  turn. 
Run,  jump  from  right  foot,  land  with  quarter  right  turn. 
Run,  jump  from  left  foot,  land  with  quarter  right  turn. 
Run,  jump  from  right  foot,  land  with  quarter  left  turn. 
Run,  jump  from  both  feet,  land  facing  forward. 


322  GYMNASTIC  TEACHING 

Run,  jump  from  both  feet,  land  with  quarter  left  turn. 

Run,  jump  from  both  feet,  land  with  quarter  right  turn. 

Run,  jump  from  both  feet,  with  side-flinging  of  arms  and  legs. 

Run,  jump  from  left  foot,  land  on  right  foot. 

Run,  jump  from  right  foot,  land  on  left  foot. 

Run,  jump  from  left  foot,  land  on  left  foot. 

Run,  jump  from  right  foot,  land  on  right  foot. 

Run,  jump  from  left  foot,  land  on  both  feet  with  half  left  turn. 

Run,  jump  from  right  foot,  land  on  both  feet  with  half  right  turn. 

Run,  jump  from  left  foot,  land  on  both  feet  with  half  right  turn. 

Run,  jump  from  right  foot,  land  on  both   feet  with  half  left  turn. 

Run,  jump  from  both  feet,  land  on  both  feet  with  half  left  turn. 

Run,  jump  from  both  feet,  land  on  both  feet  with  half  right  turn. 

Standing  high  jump  to  left  (left  side  to  the  bar). 

Standing  high  jump  to  right  (right  side  to  the  bar). 

Oblique  running  high  jump,  from  left  foot. 

Oblique  running  high  jump,  from  right  foot. 

Run,  jump  from  left  foot,  land  on  left  foot  with  half  left  turn. 

Run,  jump  from  right  foot,  land  on  right  foot  with  half  right  turn. 

Run,  jump  from  left  foot,  land  on  both  feet  with  half  left  turn  and  back- 
ward roll. 

Run,  jump   from   right   foot,  land   on  both    feet   with  half   right  turn  and 
backward  roll. 

Run,  jump  from  both   feet  with   side-flinging  of  arms  and   legs   and   half 
left  turn. 

Run,  jump  from  both   feet  with   side-flinging  of  arms  and   legs   and  half 
right  turn. 

Standing  high  jump  forward. 

Standing  high  jump  forward  with  side-flinging  of  arms  and  legs. 

Run,  hurdle  from  left  foot. 

Run,  hurdle  from  right  foot. 

Pike  dive. 

Competitive  running  high  jump,  any  style. 

Most  of  the  above  jumps  may  also  be  done  from  a  springboard. 

Broad  Jumps. 

One  standing  hop  forward  from  left  and  right  foot. 

One  standing  step  forward  from  left  and  right  foot. 

One  standing  jump  forward  from  left  and  right  foot. 

One  standing  broad  jump. 

One  standing  side  jump,  left  and  right. 

One  standing  jump  backward. 

Two  standing  hops  forward  from  left  and  right  foot. 

Two  standing  steps  forward  from  left  and  right  foot. 

One  standing  hop  and  step,  starting   from  left  and  right  foot. 

One  standing  step  and  hop,  .starting  from  K-ft  and  right  foot. 

One  standing  hop  and  jump,  starting  from  left  and  right  foot. 

One  standing  step  and  jump,  starting  from  left  and  right  foot. 

Two  standing  broad  jumps. 

Two  standing  side  jumps  left  and  right. 

Two  standing  hops  backward,   from   left  and  right   foot. 

Standing  hop,  step  and  jump,  starting  from  left  and  right   foot. 

Three  standing  hops  forward,   from  left  and  risjit   foot. 

Three  standing  broad  jumps. 

Two  standing  jumps  backward. 

One  running  hop,   from  left  and  right   foot. 


APPENDIX  323 

One  running  step,  from  left  and  right  foot. 
Three  standing  jumps  to  left  and  right. 
Two  running  hops,  from  left  and  right  foot. 
Two  running  steps,  from  left  and  right  foot. 

Running  broad  jump  from  left  and  right  foot.     (Do  not  try  for  great  dis- 
tance, unless  landing  on  spring  mattress.) 
Running  hop  and  step,  from  left  and  right  foot. 
Running  step  and  jump,  from  left  and  right  foot. 
Running  hop,  step  and  jump  from  left  and  right  foot. 
Running  broad  jump  with  full  left  turn,  from  left  foot. 
Running  broad  jump  with  full  right  turn,  from  right  foot. 

Tumbling. 

Forward  roll,  hands  on  mat. 

Forward  roll,  hands  on  insteps. 

Forward  roll,  forearms  and  elbows  on  mat. 

Backward  roll. 

Forward  roll  with  one  hand  on  hip. 

Forward  roll  with  both  hands  on  hips. 

Head  stand,  roll  over  forward. 

Forward  roll,  followed  by  backward  roll. 

Handstand  (with  assistance  at  first). 

Cart  wheel  left  and  right. 

Running  dive  from  one  foot. 

Backward  roll  to  head  stand. 

Handstand,  walk  forward. 

Running  dive  from  both  feet. 

Two  cart  wheels  left  and  right. 

From  lying  position :  raise  legs  and  "snap"  up  to  standing  position,  using 
hands  behind  head. 

Same  as  preceding,  with  hands  on  knees. 

Handspring  over  rolled  up  mat. 

Hand-and-head  spring  from  rolled  up  mat. 

Combined  forward  and  backward  roll  by  two  pupils,  grasping  each  other's 
ankles. 

Running  dive  from  one  foot,  or  both  feet,  for  distance. 

From  lying  position  :   "snap"  up  to  standing  position,  arms   folded. 

Handspring  from  knees  of  pupil  lying  on  his  back. 

Handstand,  drop  to  head  stand,  roll  over  and  "snap"  up  to  standing  posi- 
tion. 

Running  dive,  fall  back  and  "snap"  up  to  standing  position. 

Cart  wheel  and  handspring. 

Forward  somersault   (with  belt). 

Backward  handspring  (with  belt). 

Backward  somersault  (with  belt). 


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Goldthwaite,  J.  E.  The  Relation  of  Posture  to  Human  Efficiency.  Boston, 
1908. 

Gulick,  L.  II.  Physical  Education  through  Muscular  Exercise.  Blakis- 
ton's  Sons  &  Co.,  Philadelphia,  1904. 

Gymnastic  Nomenclature.     Association   Press,   New  York,   1(>12. 

Hall,  S.     Adolescence.     D.  Appleton  &  Co.,  Xew  York.  1904. 

Hall,  S.  Youth  and  Education.  Regimen  and  Hygiene.  I).  Appleton  & 
Co.,  New  York,  1907. 

Hanus.     Educational  Aims  and  Values.     Macmillan,  New  York,  1902. 

Hartwell.  1C.  M.  Physical  Education  Report  of  L'.  S.  Commissioner  of 
Education,  1897-1808  and  1'HU 

Hartwell,  K.  M.  Nature  of  Physical  Training  and  Best  Means  of  Secur- 
ing Its  Aim.  Report  of  Physical  Training  Conference,  1W. 


BIBLIOGRAPHY  325 

Hetherington,  C.  \V.  Fundamental  Education.  American  Physical  Educa- 
tion Review,  December,  1910. 

James,  W.  Talks  to  Teachers  and  Students.  H.  Holt  &  Co.,  New  York, 
1900. 

Johnson,  G.  E.     Play  in  Education.     Ginn  &  Co.,  Boston,  Mass. 

Johnson,  G.  E.  Suggestions  for  a  Greater  Physical  Education.  Ameri- 
can Physical  Education  Review,  December,  1910. 

Kindervater,  A.  E.  Physical  Education.  American  Physical  Education 
Review,  January,  1912. 

Lamed,  C.  W.  Athletics  from  an  Historical  and  Educational  Standpoint. 
American  Physical  Education  Reviczv,  January,  1909. 

Leonard,  F.  E.  Relatio'n  of  Motor  Activity  to  Health  and  Education. 
Physical  Education  Review,  December,  1910. 

Pearl,  N.  H.  and  Brown,  H.  E.  Health  by  Stunts.  Macmillan  Co.,  New 
York,  1919. 

Posse,  N.     Special  Kinesiology.    Lee  &  Shepard,  Boston,  Mass. 

Rapeer,  L.  W.  Minimum  Essentials  of  Physical  Education.  Reprint  from 
16th  Year  Book  of  National  Society  for  the  Study  of  Education. 

Rath,  E.  Theory  and  Practice  of  Physical  Education,  Vol.  I,  II,  III. 
Normal  College  of  American  Gymnastic  Union.  Indianapolis,  1915. 

Rowe,  E.  C.  Voluntary  Movements.  American  Journal  of  Psychology, 
October,  1910. 

Schrader,  C.  L.  The  Teaching  of  Tactics.  American  Physical  Education 
Review,  Vol.  I,  December,  1911;  Vols.  II  and  III,  January  and  Febru- 
ary, 1912. 

Skarstrom,  W.  Gymnastic  Kinesiology :  Introduction  and  Summary. 
American  Physical  Education  Association,  Springfield,  1913. 

Stecher,  W.  A.  German  Gymnastics.  Freidenker  Publishing  Co.,  Mil- 
waukee, Wis. 

Thorndike,  E.  L.  Notes  on  Child  Study.  Macmillan  Co.,  New  York, 
1903. 

Tyler,  J  .M.    Growth  and  Education.    D.  Appleton  &  Co.,  New  York. 

Wood,  T.  D.  Health  and  Education.  Ninth  Year  Book  of  the  Society 
for  the  Study  of  Teaching. 


INDEX. 

PAGE 

Abdominal  exercises,  character  of    108 

progressive  lists  of    293 

progression  of  types 170 

Active  gymnastic  position   54 

Adaptation  of  work  to  conditions   88,  90 

Admonitions     63 

Aims  and  values  of  gymnastics   83 

hygienic 84 

educational,    including    general    motor    and    posture    training, 

useful  forms  of  agility,  etc 84-88 

Alignment   and   open   order,   methods   of    32 

All-round  character  of  gymnastic  lesson    124 

Alternating   movements    136 

Anticipation  of  signal,  due  to  faulty  delivery,  insufficient  pause,  too 

even  intervals,  etc 47 

induced  by  teacher  doing  the  movement  while 

delivering  final  signal   48 

Apparatus  exercises,  general  principles  of  progression  181 

progression  by  classes  and  types   182 

progressive  lists,  for  men   307 

progressive  lists,  for  women  300 

terminology   of    298 

Apparatus  work  in  the  gymnastic  lesson    129 

Arm  movements,  progressive  list  of  296 

Arm  support  exercises,  character  of    115 

progression  of  types    186 

Arrangement  of  gymnastic  lesson,  general 126 

free-standing  exercises  in  lesson   126 

Attention     19 

Attention  and  interest    23 

dependent  on  correct  technique  23 

focused  by  pause  in  signal   46 

how  to  hold  through  proper  guidance  of  class 

work     24 

how  to  secure  at  the  beginning  of  the  lesson  .  20 

lack  of,  loss  of 22,  24 

special  ways  of  stimulating   24 

when  speaking  to  the  class   22 

".•I'tei-.tion!"  signal   for   fundamental  position    21,  54-56 

Bagk  and  shoulder  blade  exercises,  character  of   110 

progressive  list  of   291 

Back  movements,  general,   character  of    Ill 

progression  of  types    167 

Balance  exercises,  character  of    107 

progressive  list  of    294 

progression  of   types    172 

Beginning  of  the  lesson  :  getting  the  attention   20 


328  INDEX 

PAGE 

Boom,   see  progressive  lists  of  exercises  on  high,   low,   double   and 

saddle    boom    301-303 

Box,  see  vaulting  box    304 

Breathing  exercises,  class  of,  character  of    120 

value   of    121 

Broad  jumps,  progressive  list  of  exercises  for  men  322 

progressive  list  of  exercises  for  women   307 

Buck,  progressive  list  of  exercises   for  men   317 

progressive  list  of  exercises  for  women   305 

Causes  of   faulty  execution  of  exercise   68 

Character  of  definite  gymnastic  exercises    5 

Charges,   character   of    112 

progressive  list  of    297 

progression   of  types    176 

Circles,  terminology  of    300 

Classification  of  gymnastic  exercises  92 

Coaching     70 

Combination  and  alternation  of  movements  in  relation  to  progression  138 

Commands,  or  gymnastic  signals,  general  topic  38 

as  expressing  personality 42 

consistent  use  of    42 

different  kinds,  and  methods  of  making   39-41 

essential   features  of    38 

executionary  or  final  part  of    48 

following  each  other  too  rapidly  43 

for  combined  movements    41 

for   compound   movements    41 

for    rhythmic   exercises    39 

for   single   movement    40 

for  simple  and  compound  movements    40 

for  stopping  rhythmic  exercises    52 

insufficient   pause   in    47 

intonation  and  inflexion  of   49 

numerals  used  as   40 

pause    in    46 

preparati  >ry     45 

recalls     43 

stimulating  attention — making  pupils   not   only   hear,   but 

listen     42 

summary      53 

superfluous    44 

technique    of    45 

voice  and  enunciation  in  delivering    42 

Commendation   and  praise    2> 

Complexity  and   progression    13d 

Compound,  combined,  composite  and  alternating  movements   130 

Content  and  character  of  gymnastic  lesson    121 

Control  and  class  management    12 

how    to    secure    and    maintain    control  13 

Cooperation,    spirit   of    "     8 

Correction  of  faulty  execution  of  exercises   (4,  66 

general,  addressed  to  class  as  a  whole    64,  70 

individual      on,  70 

manual     72 

Counting,  as  used    for  signals    40,  47,  49 

as  used    for  marking  time    47,  50 


INDEX  329 

PAGE 

Cue  method  of  presentation    41,  46,  62 

Definite  exercises,  character,  aims  and  values   4,  77 

methods  of   teaching   78 

repeated   rhythmically    80 

sample  lessons    193 

Detiniteness  in  gymnastics    4 

Demonstration  method  of  presentation   61,  62 

Derived  starting  positions  140 

Descriptive  method  of  presentation   61 

Discipline    16 

Dismounts,   terminology  of    299 

Distribution  of  class  on  the  floor   • 32 

Distribution  of  work  in  gymnastic  lesson   122 

Divisions  of  gymnastic  lesson,  proportion  of  time  in  each  125 

Doing  the  exercises  with  the  class   26 

leading  to  anticipation  of  signal 48 

Double  boom,  progressive  list  of  exercises  for  women  302 

Educational  aims  and  values  of  gymnastics  84 

Equalization  of  circulation  in  beginning  of  gymnastic  lesson   123 

Errors,  causes   of    68 

Essentials  for  successful  teaching  9 

Experience,    learning  by    9 

Facings  during  lesson  to  facilitate  execution  of  exercise  36 

Faculty  execution  of  exercise,  causes  of  68 

correction  of    66 

Faculty  posture    98 

Final  or  executionary  part  of  signal   48 

Fixation  of  the  shoulder  girdle 110 

Foot  placings,  heel  raisings,  etc.,  progressive  lists   277 

Formations  and  distribution  of  class  on  the  floor   32 

Formation,  variation  of,  by  facings  during  lesson   36 

Free-standing  exercises,  progressive  lists  of   277 

progression  of  types  in  the  various  classes.  152 

the  series  of,  in  the  gymnastic  lesson   126 

Free-standing  jumps,  toe  jumps,  etc.,  progressive  list  of   178 

Friendly  relations  between  teacher  and  class    28 

Fundamental  gymnastic   position    54 

General  admonitions  and  stimulation   63 

General  principles  of  teaching   9 

Getting  in  touch  with  the  class   15 

Guiding  class  work  so  as  to  hold  active  attention   24 

Gymnastics,  place  of,  in  physical  education    2 

aims  and  values  of   83 

object    of    4 

Gymnastic  lesson,  content  and  character  of   121 

general   plan    125 

summary    131 

progression   within    132 

progression  from  lesson  to  lesson 132,  193 

Gymnastic  lessons,  progression  as  applied  to   193 

sample  progression  of   193 

series  of,  for  first  year  junior  high  school   193 

second  year  junior  high  school  ....  201 


330  INDEX 

PAGE 

first  year  high  school  girls 208 

second  year  high  school  girls  216 

first  year  high  school  hoys  223 

second  year  high  school  boys  231 

first  year  college   women    239 

second  year  college  women  250 

first  year  college  men    259 

second   year  college   men    26<S 

Gymnastic  systems     3 

methods    of   classification    93 

Heel  raising,  etc.,  progressive  list  of  exercises   277 

High  boom;  progressive   list  of  exercises   for  women    .301 

High  horizontal  bar,  progressive  list  of  exercises   for  men    310 

High  jumps,  progressive  list  of  exercises  for  men  321 

progressive  list  of  exercises  for  women   307 

Hollow  back,  as  a  fault  in  execution  of  upper  back  stretching  exer- 
cises      100,  103 

how   to   correct    74,  101 

Horizontal  bar,  see  high  and  low  horizontal  bar   310,  313 

Horizontal  ladder,  progressive  list  of  exercises  for  men   307 

progressive  list  of  exercises  for  women   300 

Horizontal  vaults,  see  vaults,  terminology  of    299 

Horse,  see  side  horse  and  long  horse    305,  315 

Hygienic  aims  and  values  of  gymnastics    84 

as  represented  in  the  gymnastic  lesson    121 

as  represented  in  non-definite,  rhythmic  exercises   ...  76 

Imitation  contrasted  with  demonstration   61 

method  of  presentation    60 

resulting   from  teacher  doing  the  exercises   with   the  class 

and  anticipating  the  signal   27,  48 

Imperative  verb  as  final  signal   39 

"In  place  rest!"  or  ".-//  case!"  signals  for  the  relaxed  position   57 

Incentives      13 

Individual   instruction  and  assistance    66 

Instruction    5() 

Interest    15 

and    attention    23 

of  teacher  in  pupils    30 

"Introduction"  of  work  to  the  class   15 

Jumping  and  vaulting,  character  of  116 

progression  of  types  and  apparatus  188 

Jumps,  high  and  broad,  progressive  lists  of,  for  men  321,  322 

progressive  lists  of,  for  women  307 

Jumps,    terminology    of    2('(' 

Jumps,  toe  jumps,  etc.,  types  and  general  character  of  112 

progression  of  178 

Knee  bending,  foot  placings,  etc.,  progressive  list  of    27'' 


Ladder,  see  horizontal,  window  and  rope  ladders   300,  307,  303,  304 

Lateral  trunk  exercises,  character  of    105 

progressive  lists  of   28d,  288 

progression  ot   types    162 

Leadership  and    friendly  relations    26 


INDEX  331 

PAGE 

Leg  and  arm  exercises,  character  of  96 

progressive  lists  of    277,  279 

progression  of  types  152 

Lesson,  gymnastic,  content  and  character  of  121,  131 

Lesson  plan,  general  arrangement  and  modifications   125,  127 

Lessons,  progression  of  193 

sample  progressive    193 

"Limbering  up,"  preparatory  work  in  gymnastic  lesson  122 

Long  horse,  progressive  list  of  exercises  for  women  305 

Low  boom,  progressive  list  of  exercises  for  women  301 

Low  horizontal  bar,  progressive  list  of  exercises  for  men  313 

Lower  back  stretching  exercises,  character  of   103 

progressive  list  of    284 

progression  of  types   161 

Lumbar  hyperexteiision  in  upper  back  stretching  exercises,  etc 100,  103 

Manual   assistance    72 

Marching   32,  94 

Marking  time,  guiding  rhythm,  by  counting   47,  50 

Men's  apparatus  exercises    307 

Methods  and  technique   32 

of  correcting    70 

formation  and  distribution  of  class  on  the  floor 32 

making  signals    39 

opening  order   32 

presentation  of  exercises   60,  62 

teaching  different  kinds  of  work  74 

Mistakes,   acknowledgment   of    30 

Modifications  of  outline  of  free-standing  series  in  lesson   127 

Motor  training,  subjective  and  objective  85 

Mounts,   terminology   of    299 

Movements  for  the  arms  and  legs,  class  of   96 

progressive  lists  of   277,  279 

progression  of  types  .  .      152 

Nomenclature,  see  terminology   141,  298 

Non-definite  gymnastic  exercises,  character  of  6,  75 

values  represented  by   75 

methods   of   teaching   76 

Numerals,  used  as  signals    40,  47,  49 

for  marking  time,  guiding  rhythm   47,  50 

incorrectly    47 

Obedience   , 14 

Object  of  gymnastics    4 

Objective   motor  training    85 

Observation  of  class  work  by  teacher,  systematic 68 

Open  order,  methods    32 

Organic  stimulation,  progressive,  in  gymnastic  lesson    123 

represented  in  rhythmic  non-definite  exercises..  76 

Outline,  general,  of  gymnastic  lesson  as  a  whole   125 

of  series  of   free-standing  exercises    126 

Parallel  bprs,  progressive  list  of  exercises  for  men i!8 

progressive  list  of  exercises  for  women  306 

suspended,  progressive  list  of  exercises  for  men  308 

Participation  in  class  work  by  the  teacher 26,  27,  48 


332  INDEX 

PAGE 

Pause  in  the  signal   46 

Personality  of  the  teacher   8,  10,  12 

Personal  relations  between  teacher  and  class   28 

Place   of    gymnastics   in   physical    education    2 

Popularity  of   the   teacher    28 

Posture,  factors  which  determine  97 

incorrect  or  faulty   98 

o  f   shoulder  girdle    110 

Posture  training  as  a  part  of  subjective  motor  training  86 

in  upper  hack  stretching  exercises  99 

in  lower  hack  stretching  exercises    103 

represented  by  shoulder  blade  exercises   110 

Praise  and  commendation   29 

Preparation,  of  teacher  before  giving  the  lesson   59 

Preparatory   signal    45 

Preparing  the  pupils'  minds  for  the  work 15 

Presentation  of  exercises  :  demonstration  method    60,  61,  62 

descriptive   method    61,  62 

combinations  of  the  above   62 

imitation    method    60 

Principles,    general    9 

and  methods,  need  for  knowledge  of   10 

of  progression  of  apparatus  exercises   181 

of  progression  of  free-standing  exercises 132,  135,  152 

of  selection  of  exercises    91 

Progression    131 

as  applied  to  gymnastic  lessons  132 

from  non-definite  to  definite  style  of  work   132 

of  apparatus  exercises  133,  181 

of    free-standing  exercises    132,  135,  152 

and   repetition    133 

Progression,  principles  of,  as  applied  in  education   1 

as  applied  in  the  various  classes  and  types 

of  free-standing  exercises   152 

as  applied  to  different  classes  and  types  of 

apparatus  exercises    182 

Progressive   gymnastic   lessons    193 

lists  of  apparatus   exercises    300,  307 

lists  of   free-standing  exercises    277 

Progressive  organic  activity  in  the  gymnastic  lesson    123 

Recreational  aspect  of  gymnastics   89 

Redistribution  of  the  blood  by  the  exercises  in  the  gymnastic  lesson    .  123 

Relations   between  teacher  and  class    28 

Relaxed  gymnastic  position    57 

signal    for    58 

use   of    58 

when  not  to  use    58 

Repetition  in  relation  to  progression    133 

Respiratory   exercises,   character   of    120 

Rests,   terminology   of    2f'8 

Rhythm  and  dcfmiteness  in  gymnastic  exercises   80 

of  movements  in   relation  to  progn->sion    140 

Rhythmic  gymnastic  exercises,  how  to  start  and  guide   39,  47.  50 

how   to   stop    52 

Rope  ladders,  progressive  lists  of  exercises   for  women    304 

Ropes,  see  vertical   ropes    303,  310 


INDEX  333 

PAGE 

Running  and  running  games,  class  of  exercises,  value  of  119 

Running  in  the  gymnastic  lesson 130 

Sample  progression  of  gymnastic  lessons 193 

Saddle  boom,  progressive  list  of  exercises  for  women  303 

Selection  of  gymnastic  exercises   91 

principles  of,  as  applied  in  education    

Shoulder  blade  exercises,  use  in  posture  training   Ill 

use    and    excessive    use    in    the    gymnastic 

lesson   128 

Shoulder  blade  movements,  character  of    110 

progressive  list  of  (arm  exercises)    ....  296 

Side  bending,  etc.,  progressive  list  of  288 

Side  horse,  progressive  list  of  exercises  for  men   315 

progressive  list  of  exercises  for  women   305 

"Sliding"  from  response  repetition  to  rhythmic  repetition  47 

Special  technical  training  of  teachers,  need  for   11 

Special  ways  of  stimulating  a  class  24 

Speed  of  movement  in  relation  to  progression  139 

Spirit  of  cooperation    8 

of  teaching   '. . . .  8 

Starting   an   exercise   incorrectly,   through    faulty    signal,    leading   to 

false  start,  etc 46 

Starting  of  rhythmic  exercises  39,  51 

Starting  positions,  in  relation  to  progression   140 

terminology  and  definition  of    141 

variation  of,  in  the  gymnastic  lesson   128 

Stimulating  attention  of  class  in  special  ways  24 

Stimulation     64 

Stopping  an  exercise,  signals  for  52 

Style  of  work  75 

Subjective  motor  training    86 

Suggestion  and  example   26 

Supplementary   instruction    63 

Suspended  parallel  bars,  progressive  list  of  exercises 308 

Suspension  exercises,  character  of    113 

progression  of  types  and  apparatus   182 

Systems,  gymnastic   3 

Systematic  observation  of  class  work  by  teacher  68 

Tactics,  see   formations,   and   marching    32,  94 

Teacher,  personality  of    8,  10,  12 

popularity   of    28 

interest  of  teacher  in  pupils  30 

Teaching,   spirit  of    8 

essentials  for  successful   9 

Technique  of  signals  45 

of  teaching  in  relation  to  attention  of  class  23 

Terminology  of  apparatus  exercises   2*>8 

derived  starting  position    141 

simple   free-standing  movements    141 

Toe  jumping,  etc.,  types  and  character  of   112 

progression  of  types   179 

Trunk   twistings,  progressive   list   of    286 

Tumbling,  progressive  list  of  exercises  for  men   323 

progressive  list  of  exercises   for  women    307 

Turns,  terminology  of 300 


334  INDEX 

PAGE 

Twisting,  see  trunk  twisting   286 

Types  of  exercises,  their  relative  difficulty  in  relation  to  progression  .  135 

Unison,  failure  of,  because  of  faulty  signal  47 

Upper  back  stretching  exercises,  character  of  97 

progressive  list  of   281 

progression  of  types   157 

teaching  of    102 

Variety  of  selection,  combination   and  arrangement  of  exercises  of 

free-standing  series  in  gymnastic  lesson   127 

of  starting  positions  in  gymnastic  lesson   128 

Vaulting  box,  progressive  list  of  exercises  for  women   304 

Vaults,  horizontal  and  vertical,  terminology  of   299 

Vertical  ropes,  progressive  list  of  exercises  for  men  310 

progressive  list  of  exercises  for  women  303 

"Warming  up,"  introductory  exercises  in  gymnastic  lesson 122 

Will  power  and  self-discipline  14 

Window  ladder,  progressive  list  of  exercises  for  women  303 

Women's  apparatus  exercises    300 

Working  with  the  class,  to  stimulate  attention  25 

leading  to  anticipation  of  signal  and  imita- 
tion   . 48 


PRINTED  BY  K.   L.   HILDKKTH  &•  Co. 
),  VERMONT,   U.   S.  A. 


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